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Dissertations / Theses on the topic 'Piano concertos'

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Published: 4 June 2021
Last updated: 1 August 2024

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1

Howard, Christopher Eugene. "Piano concerto." Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.

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2

Forster, Robert. "Die Kopfsätze der Klavierkonzerte Mozarts und Beethovens : Gesamtaufbau, Solokadenz und Schlussbildung /." München : W. Fink, 1992. http://catalogue.bnf.fr/ark:/12148/cb355950647.

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3

Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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4

Bartman, Kristopher M. Mobberley James. "Piano concerto no. 1." Diss., UMK access, 2004.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2004.<br>"A thesis in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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5

Jones, Jesse Benjamin. "Piano concerto no. 1 /." Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6041.

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6

Lee, Jung-Eun. "Aspects of piano performance : stylistic analysis of the concerto in D, op. 13, for piano and orchestra by Benjamin Britton." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1354643.

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The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of Britten's life, accomplishments as a pianist, and his contribution to the piano repertoire in general. The third chapter provided a stylistic analysis on each movement of the concerto. It included structural analysis based on the formal, motivic, thematic, rhythmic, melodic and harmonic elements presented throughout the concerto. Additionally, possible technical challenges and suggestions for practice methods were recommended based on the issues of phrasings, articulations, dynamics, musical expressions and styles. Since each movement has its own unique titles such as Toccata, Waltz, Impromptu, and March, the origins of the genre and Britten's association with the terminology was also examined.The dissertation not only underlined the importance of Britten as a composer for the piano, it also revealed his distinct compositional characteristics shown in the piano concerto in relation to his other significant piano repertoire. The dissertation closed with a summary of the detailed analysis of the concerto and recommended further studies on Britten and his piano concerto.<br>School of Music
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Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.
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8

Waseen, Symeon L. "Concerto for piano and orchestra homage to W.A. Mozart /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1124224335.

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9

Dellinger, Michael Eldon. "An analysis of Frank Martin's Second Piano Concerto /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259125218152.

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10

Ferguson, Sean. "Concerto for piano and orchestra : "Inside passage"." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37726.

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the score of this work.<br>Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my use of contour theory. Part II of the first volume illustrates these techniques through an analysis of the Concerto for Piano and Orchestra. The main topics of this analysis are the creation of background harmonic regions based on high pitch commonality to a referential sonority, and the integration of a basic shape or contour into all parameters and structural levels of the music.<br>Volume two is the full score of the Concerto for Piano and Orchestra. This work has a duration of 23 minutes. It is scored for solo piano and a small orchestra consisting of flute (doubling on piccolo), oboe, B-flat clarinet, bassoon, horn in F, trumpet in C, trombone, two percussion and strings (44332). The Concerto is divided into four movements, played without pause, and two brief opening and closing sections.
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11

Picton, Michael. "Curio shop : concerto for piano and chamber orchestra." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27481.

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v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)<br>Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.<br>It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topics include the use of tonality in the work, the variation techniques used in composing the interludes, and a discussion of compositional procedures used in a single movement along with examples of their application in other movements.
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12

Patch, Marc. "L.U.K.L.O.V.: concerto pour piano." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61132.

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13

關傑卿 and Kit-hing Kelina Kwan. "Cadenza as reception: stylistic and structural analysis of selected cadenzas for the first movement ofBeethoven's piano concerto op. 58." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234197.

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Picton, Michael. "Curio shop, concerto for piano and chamber orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29856.pdf.

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15

Anschutz, Janet Kay, and Joseph 1732-1809 Sonatas piano H. XVI 50 C. major Haydn. "A master's recital and lecture recital." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9818.

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16

Smith, Mark Colin. "Folio of compositions." Title page, contents and fanfare only, 2000. http://web4.library.adelaide.edu.au/theses/09MUM/09mums655.pdf.

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17

Sasaki, Yuka. "Cellular construction in the piano Concerti of Franz Liszt /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11414.

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18

Friedman, Richard. "The original cadenzas in the piano concertos of Beethoven: an analysis." Thesis, Boston University, 1989. https://hdl.handle.net/2144/38032.

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Thesis (Ph.D.)--Boston University<br>The study and analysis of all eight cadenzas written by Ludwig van Beethoven for the first four of his piano concertos, reveals, as much as can be gleaned from this evidence, important information about Beethoven's approach to improvisation. This subject has long eluded investigation due to the paucity of musical and collateral evidence. The analyses of these cadenzas, seven of which are complete, reveal surprising information about the nature of the harmonic plan of the cadenzas, and the choice of thematic material in each section of the cadenza. They also uncover consistencies of pattern and compositional technique that clearly set these cadenzas apart from the late eighteenth-century norms, best exemplified by those of Mozart. Beethoven may have been prompted to commit these cadenzas to paper in 1809 by the fear of piracy, a fact he noted with increased attention, after his retirement from the concert stage 1n 1807. And by 1809 he had already begun study of Carl Philipp Emanuel Bach's Versuch and Daniel Gottlob Turk's Clavierschule in preparation for the anticipated education of the Archduke Rudolph. The keyboard fantasy, an important subject in the writings of both these theorists, had i ts own set of rules and compositional approaches. That Turk drew a connec t ion between the fantasy and the cadenza as similar compositional forms, coupled with the amount of detailed description of the fantasy in Bach's treatise, may have served as an inspiration and perhaps guideline for Beethoven's composition of both the Fantasy, op. 77, and the cadenzas in the same year. Certain stylistic characteristics predominate in the cadenzas: the use of imitation at the outset; the greatest extent of fantasy- like free modulation in the first of the three formal sections; the development of the subsidiary theme in the second section, and the strikingly careful avoidance of a strong dominant prolongation before the actual closing dominant of the cadenza. The cadenzas show an increasing predilection to grow in the direction of compositional, rather than extemporizational planning, a tendency that reaches its zenith in the written-in cadenzas in the Fifth Piano Concerto, the Violin Concerto, and the unfinished Sixth Piano Concerto.
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19

Yang, Christine. "An Analytical Study of Karamanov's Piano Concerto No.3 "Ave Maria"." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6036/.

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The purpose of this dissertation is to analyze Concerto No.3 "Ave Maria" by Alemdar Karamanov (1934-2007) and to elucidate the work through historical background and the composer's ideas. This concerto is presented as a significant gesture of dramatic emotion, religious belief, romantic spirit and universal feeling. The subtitle "Ave Maria" relates to a set up already present within the music program. An analysis of interval relationships will help performers better realize Karamanov's music language. In view of the complicated nature of this piece, an analytical study is considered necessary. The study centers principally on analysis, with an emphasis on the developments of form, tonality and motives to help performers better understand the work, and how to best approach this concerto.
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20

Ivanova, Anastassia. "Sergei Rachmaninoff`s piano concertos the odyssey of a stylistic evolution /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3544.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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21

Kwan, Kit-hing Kelina. "Cadenza as reception : stylistic and structural analysis of selected cadenzas for the first movement of Beethoven's piano concerto op. 58 /." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19390646.

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22

Hsu, Mei-Na. "Mozart's Piano Concerto in D Minor, K. 466: analysis and discussion of interpretation and performance /." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180454448.

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23

Koch, Juan Martin. "Das Klavierkonzert des 19. Jahrhunderts und die Kategorie des Symphonischen : zur Kompositions- und Rezeptionsgeschichte der Gattung von Mozart bis Brahms /." Sinzig : Studio, 2002. http://catalogue.bnf.fr/ark:/12148/cb389721514.

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24

Simonson, Eric. "E/F : a concerto for MIDI acoustic piano, concertino group, live electronics, electro-acoustic tape, and chamber orchestra (live or pre-recorded) /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935486.

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Thesis (Ph. D.--Music)--University of California, San Diego.<br>Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and technical details: p. v-viii.
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25

Mosley, Kathryn J. "The cadenzas to Beethoven's piano concertos : compositional processes and early performance traditions." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19714/.

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Beethoven's cadenzas for his piano concertos are important manifestations of his pianistic and compositional development, from the early sketches through to the published compositions of 1809. While the compositional principles behind them have their roots in C.P.E. Bach's writing on improvisation, and the concertos themselves take Mozart's as their model, Beethoven altered the function of the cadenza, creating a more organic structure for the concerto. The principal aim of this thesis is to examine the ways in which Beethoven constructs cadenzas for the first movements of his piano concertos so as to provide integrated structural extensions of those movements. This aim has been realised through a detailed re-examination and analysis, not previously undertaken, of all the relevant sketch material as well as a consideration and contextualisation of Beethoven's performances in relation to this material and the later printed versions. This reassessment also sheds new light on later performance traditions, principally those of the nineteenth century. Developments in the tonal qualities and sonority of the piano contributed to a new virtuosity among pianists of the generation following Beethoven. The cadenzas of Carl Czerny (arguably Beethoven's most significant pupil) and Czerny's student Franz Liszt demonstrably adopt Beethoven's compositional principles. Yet those by Beethoven's friend and colleague Ignaz Moscheles embrace the new figurations and surface complexities typical of this period. By contrast Clara Schumann would master a more compositional approach based on her understanding of Beethoven's style. The establishment of recording in the early part of the twentieth century means that certain nineteenth-century performance traditions can, with the help of other kinds of documentation, be reconstructed. Recordings of several pianists are considered here on account of their links to Liszt, Moscheles and Clara Schumann, and the special bond with Beethoven claimed by them and the previous generation. Amongst other features they provide evidence of the then current habit of integrating a newly-composed cadenza with the work.
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Tang, Wen-Chien. "Antonín Dvořák’s Piano Concerto in G Minor, Opus 33: A Discussion of Musical Intent and Pianistic Effectiveness in Vilém Kurz's Version of the Solo Piano Part." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30516/.

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Since its premiere in 1878, Antonín Dvořák’s Piano Concerto in G Minor has been underrated and held in low regard by musicologists, critics, performers and audiences alike. Vilém Kurz (1872-1945), a Czech pianist and pedagogue, revised and reworked the piano solo part to incorporate what he considered to be added brilliance and pianistic effectiveness. However, the revised version has not increased the popularity of the work. In recent decades, this concerto has begun to appear more often in the programs and recordings are currently available, utilizing either the original piano part or Kurz's revision or a combination of both. In order to gain a broader analytical perspective and achieve a more authentic interpretation of the piece, a thorough understanding of the relation between Dvořák’s work and Kurz's revisions is indispensable. This study examines these adaptations and compares them with Dvořák’s scoring in order to gain further insight to Kurz's musical intent and pianistic aims. Examples from all movements are evaluated vis-à-vis the original to determine their purpose and musical validity.
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27

Correia, João Eduardo de Jesus. "Mozart and the language of contrast : a study of four early piano concertos." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1006863.

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Lundtvedt, Natalya V. "Rachmaninoff and Russian pianism performance issues in the Piano concerto in C minor, opus 18 / by Natalya V. Lundtvedt." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1581455111&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Liu, Louise Jiayin. "Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovsky’s Piano Concerto No.1." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3648/.

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This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.
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Chang, Hsiao-Ling. "Lowell Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12: An Historical and Analytical Study." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30426/.

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Lowell Liebermann, born in New York City in 1961, is one of America's most distinguished living composers. In addition, he often conducts and performs as pianist in his own works. His musical language is unique and unmistakably rooted in the grand tradition of Western music; however, his style combines old and new, simple and complex, emotional and intellectual aspects. It combines tuneful, catchy melodies with a rich harmonic language, all framed by a strong formal design. This study begins with presenting primary information on this concerto excerpted from an interview with Lowell Liebermann. This interview served as a reference for subsequent sections, and a transcript of the interview is appended to the end of this study. In the third chapter, the musical language of the composer is discussed. Chapters four and five constitute the main body of this dissertation. The goal of these two chapters is to understand the basic three-pitch motive of the work, to demonstrate how it operates at various levels, and to see how the raw material corresponds at a larger structure level. It is the author's hope that this study will guide performers to better understand Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12.
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Méndez-Flanigan, Maria Gisela. "Peter Lieberson's First Piano Concerto: A Buddhist-inspired poetic vision realized through twelve-tone language, other contemporary compositional techniques, together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3175/.

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The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.
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Jones, Timothy Rhys. "Recapitulatory strategies in the first movements of Mozart's Viennese piano concertos : an analytical investigation." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333248.

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Gonçalves, Fernando Rauber. "Neoclassicismo e nacionalismo no Segundo Concerto para Piano e Orquetra de Camargo Guarnieri." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16081.

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Neste trabalho, analiso o Segundo Concerto para Piano e Orquestra (1946) de Camargo Guarnieri (1907-1993) tendo como pano de fundo uma contextualização sobre o nacionalismo e o neoclassicismo na obra de Guarnieri. Se, por um lado, o nacionalismo oriundo dos movimentos modernistas vinculava-se a uma proposta de "normalização dos caracteres étnicos permanentes da musicalidade brasileira" (Neves, 1981), também visava à inserção do país em um contexto mundial (Travassos, 1999), proposta refletida na adoção de uma estética musical neoclássica. Em minha análise, identifico no Segundo Concerto reflexos do ideário formado em torno desse nacionalismo e vinculações estéticas com as tendências da música produzida internacionalmente.<br>In this work, I present an analysis of Camargo Guarnieri's Segundo Concerto para Piano e Orquestra (1946) taking into account the manifestations of the nationalistic and neoclassical trends in the work of this composer. If, on the one hand, the nationalism steemed from Brazilian early twentieth-century modernists movements aimed to "normalize the permanent ethnical characteristics of the brazilian musicality" (Neves, 1981), on the other hand it also aspired to integrate the country in a global context (Travassos, 1999), a goal which can be detected in the influence of neoclassical aesthetics. In my analysis of the Segundo Concerto, elements which can be traced to the ideas and proposals of the nacionalismo modernista are identified, as well as aesthetical links with the international music trends.
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Maritz, Gerhardus Petrus. "Rachmaninoff, Horowitz, and the discursive arena between (re)composition and performance : the case of Rachmaninoff's Piano Sonata, opus 36." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020784.

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This treatise aims to uncover possible reasons as to why composers rework their compositions. In attempting to answer questions regarding musical and extra-musical (referential) criteria, surrounding conditions and the role performers play in acting as conduits of the aforementioned, the study focuses on three versions of Rachmaninoff’s second Piano Sonata, opus 36. The first of these was composed in 1913, the second constitutes the composer’s revision of this work in 1931, and the third, a subsequent amalgamation of both previously mentioned versions by pianist Horowitz in 1943. The research is grounded in the theoretical ideas of organicist musical structuralism and thematic/motivic transformation (Reti), musical hermeneutics and phenomenology, musical forces (Larsen) and authenticity in musical performance (Taruskin). In addition this study explores methods of critical reading that may be used to disclose the conflicting yet complementary demands of “conciseness” and “drama” contained within the parameters of the three aforementioned versions of Rachmaninoff’s Piano Sonata Op. 36. An introductory chapter is followed by one in which a historical context provides the intertextual matrix against which the musical personae of Rachmaninoff and Horowitz, as well as the three versions of Rachmaninoff’s Piano Sonata Op. 36, may be understood. The chapter thereafter provides a concise overview of the history of musical analysis and the Tendenzwende which signified the change from a purely positivistic analytical approach to a post-modernist perspective on musical critique, against which background a motivation is provided for the analytical approaches applied in this treatise. Chapters 4 and 5 present detailed readings of the sonata from the perspective of “conciseness” and “drama” respectively. In conclusion, the final chapter reflects on findings made and conclusion drawn, with particular reference to the authenticity debate in current musicological discourse.
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35

Duhaime, Ricky Edward. "A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331084/.

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The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.
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Kim, Ji-Hyun. "An Annotated Bibliography of Piano Concertos Written by South Korean Composers in the Twentieth Century." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/27.

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The purpose of this study is to provide a systematic overview of piano concertos written by Korean composers in the Twentieth-Century, using the format of an annotated bibliography. This project is of vital significance for musicians who wish to further expand their knowledge of the repertoire in this genre. In particular, this research serves as an important vehicle for those with a special interest in contemporary works, music by Korean composers, and for those who are looking for a contemporary source outside the scope of the standard piano concerto literature. The study provides commentary on the compositional and performance aspects of each work to serve as guideline for the consideration of professional performers, teachers, and conductors. The essay contains the works of twenty-five piano concertos by twenty-two composers; however, due to the lack of information this study will cover only nineteen piano concertos with compositional features and additional information. Most of the works are unpublished, but were collected through correspondence with the composers, as well as additional information from the Korean National Library of Congress, and online sources. The results of this research are intended to contribute musicological and ethnomusicological documentation of unknown works, repertoire source material for performing musicians, and bibliographic assistance in Korea to document and organize its own cultural output. In Chapter 4, the bibliography is arranged alphabetically by the composer's last name, and each work provides the biography of the composer, date of composition, commission and/or dedication, premiere performance, number and title of movements, duration, publication information, recorded performances, published reviews, composer's comments, and compositional features.
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Roy, Adam. "Music in Motion: A Metaphoric Mapping of Forces in Piano Concertos by Mozart and Schumann." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/33009.

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In this thesis, I demonstrate the dynamic way in which musical processes can be described as metaphors. Using Steve Larson’s three main metaphors (gravity, inertia, and magnetism) as a starting point, I propose additional metaphors (friction, repulsion, momentum, wave, orbit, and oscillation) to analyze the first movements of Mozart’s Piano Concerto No. 20 in D minor, K 466 and Schumann’s Piano Concerto in A minor, op. 54. These metaphors provide a means to discuss points of convergence and divergence between the Classical style and the early-Romantic style. Additionally, most theorists of the energeticist tradition only discuss motion through prose; I introduce a way to represent these metaphors as musical examples. By focusing on the listener’s experience through musical motion, the model proposed in this thesis is useful, not only for the theorist, but for all who wish to communicate ideas about music in a dynamic way.
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Swan, Robert Hathaway. "The piano concertos of Saint-Saens with a detailed analysis of no. 5, the "Egyptian"." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185327.

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The five concertos by Charles Camille Saint-Saens (1835-1921) were the first works in that genre to be written in nineteenth-century France. The composer, a versatile musician of strong intellectual and imaginative power, was one of the great pianists of his era, and his concertos, highly idiomatic for the keyboard, were an important addition to the repertory. They demonstrated coloristic devices not previously employed, and imposed more stringent demands upon virtuoso technique. Saint-Saens' style is a blend of traditional and novel elements. An eclectic and Romantic, he was attracted to melodic and rhythmic patterns of other cultures--particularly the Arabic--and incorporated them judiciously. The most prominent use of such "exoticisms" is found in his Fifth Piano Concerto, the "Egyptian": his crowning work. Although this concerto, deservedly, receives fullest attention, my document gives descriptive and analytic treatment of all five, with emphasis on those distinctive aspects of structure, harmony, rhythm, melody, and orchestration which are the "earmarks" of the composer's genius. An innovator, Saint-Saens was no less a formalist, who anticipated and influenced the neo-classicism of the early twentieth century. The five piano concertos, a distillation of his finest writing, are works of intrinsic and enduring value.
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Yoo, Seung Won. "Camille Saint-Säens' Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4674/.

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The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. Chapter IV concludes this study by determining the importance of Opus 103 in piano literature and by explaining the reason that performers with professional aspirations should consider including this concerto in their repertoire.
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Peevey, Pui-King Cecilia. "Piano Concerto No. 4 in D Minor, Op. 70 by Anton Rubinstein: An analytical and historical study." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5569/.

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Anton Rubinstein was primarily recognized as one of the greatest pianists of his time. However, Rubinstein yearned for recognition as a composer and worked prodigiously to realize that goal. Unfortunately, Rubinstein's works were virtually unknown today. One of Rubinstein's finest compositions, the Piano Concerto in D Minor, op. 70 has been the most frequently performed. It is one of the first "Russian" concertos that was written by a Russian composer, and was performed in Russian concert halls instead of the homes of Russian aristocracy. It is also considered the most successful and harmonious convergent of various musical styles which influenced Rubinstein. However, there is no formal, detailed analysis of the Concerto in the entire music literature. Therefore, the main purpose of this dissertation is to provide a thorough study of the Concerto from an analytical and historical standpoint. Rubinstein was also one of the most eminent educators in Russia. The St. Petersburg Conservatory of Music, which Rubinstein helped found in 1862, has to this day produced some of the most influential musicians in Russia. The other purpose of this dissertation is to evaluate Rubinstein's role as music educator. An overview of Rubinstein's works for piano and orchestra offers a general idea of his compositional style. Literature on Anton Rubinstein currently available is limited. The two most valuable primary sources are Rubinstein's Autobiography of Anton Rubinstein, and Rubinstein's A Conversation on Music. Jeremy Norris's The Russian Piano Concerto, Volume I: The Nineteenth Century provides an insightful but short analysis on the Concerto. Sources discussing Anton Rubinstein as a pianist and an educator are relatively plentiful. Larry Sitsky's Anton Rubinstein: Annotated Catalog of Piano Works and Biography is an excellent work on Rubinstein's piano works. This dissertation includes four chapters: Chapter 1 - Introduction Chapter 2 - Rubinstein's works for piano and orchestra Chapter 3 - Piano Concerto No. 4 in D Minor, Op. 70 Chapter 4 - Conclusion.
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Oliver, Jason L. "The Creation of a Performance Edition of the Georg Christoph Wagenseil Concerto for Trombone with Attention Given to the Surviving Manuscripts and Primary Sources of Performance Practice from the Middle of the Eighteenth Century." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30500/.

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The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such attention had been lacking in previous decades. Chapter 2 examines the life and musical background of the composer. Chapter 3 discusses the history surrounding the possible origin of the Concerto and its performance history. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 details the creation of an urtext edition of the Concerto. Chapter 6 concludes this document with a performer's guide to the work based on the urtext edition of the solo trombone part to create the performance edition. This performance edition of the work includes historically informed solutions to the problematic technical elements of ornaments. The final section of the chapter makes suggestions regarding the preparation and performance of a historically informed version of the Concerto for Trombone.
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Polgár, Éva 1983. "Two Piano Editions of the Third and Fifth Movements of Bartók's Concerto for Orchestra: Their Textual Fidelity and Technical Accessibility." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862794/.

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In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.
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McElhaney, Carla Budzian. "The saxophone and piano version of Ingolf Dahl's Concerto for alto saxophone : a guide to performance for the collaborative pianist /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Seidel, Liz. "Aspects of piano pedagogy and performance for the early advanced student : a stylistic analysis of the Concerto No. 1 for piano and orchestra by Robert Muczynski." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1236012.

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The purpose of this study is to investigate the pedagogical and performance aspects of Robert Muczynski's Concerto No. I for Piano and Orchestra. The work targets the early-advanced level of performance, representing a tutorial step in technical and musical difficulty. Muczynski's writing offers mild characteristic tendencies in comparison to later practices within the century, but does exhibit the emergence of a variety of significant keyboard skills. Moreover, his intermittent use of atonality is ideal for a student who is not yet comfortable with this idiom. For these reasons, the concerto serves as an excellent introduction to the genre for this level of study.This investigation is prefaced by an introduction to the topic of piano pedagogy in relation to concerto study, along with a brief biographical sketch of the composer. The investigation then provides a stylistic analysis of the Concerto No. 1 for Piano and Orchestra. Each movement is examined comprehensively (by formal structure) according to inherent technical and interpretive challenges, and musical examples are offered in connection with suggestions for practice and execution.Findings reveal a cross-section of twentieth-century innovation and challenge which not only represent the unification of Muczynski's style, but also offer opportunity for growth and development in terms of keyboard performance and the application of sound musical decisions.The investigation closes with suggestions for the study of other twentieth-century concerti closely resembling this work in style, but more artistically challenging in performance.<br>School of Music
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Marshall, Eldred. "Conducting from the Piano? A Tradition Worth Reviving?" Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157619/.

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Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.
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Jung, DoHaeng. "Joan Tower's Piano Concertos Homage to Beethoven (1985); Rapids (1996); and Still/Rapids (2013): A Style Study." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406900593.

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47

Buhr, Alexander. "Die Solokadenz im Klavierkonzert des 19. Jahrhunderts." Berlin Köster, 2009. http://d-nb.info/996545158/04.

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Lee, Sungyo. "Composer/Performer Collaboration as Seen in the Solo Piano Part of Percy Grainger's Edition of the Edvard Grieg Piano Concerto in A Minor Opus 16." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984142/.

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The purpose of this document is threefold. First, it demonstrates what Grieg contributes to the musical text compared with the original Peters edition, particularly, those additions that refer to expression, interpretation, and style. Second, this document focuses on presenting Grainger's changes that were approved by Grieg. Third, the document evaluates Grainger's own suggestions for pedaling, hand redistribution and fingering, addition of notes, tempo markings, and other performance guidelines.
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Grenier, Marie-Noëlle. "Le concerto pour piano et orchestre en France de 1850 à nos jours : aspects de l'évolution d'un genre." Paris 4, 1999. http://www.theses.fr/1999PA040244.

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Cette étude historique, ayant pour objet le développement du concerto pour piano et orchestre en France depuis ces cent cinquante dernières années, se décompose en deux parties principales : la première constate et explique les raisons de la continuité du genre, et retrace l'évolution de ses caractéristiques telles que les contrastes (de forces, tempos et timbres) et les structures formelles (cadences, procédés cycliques et tripartition) ; la seconde aborde les partitions du corpus sous l'angle de l'analyse de quelques points fondamentaux de l'écriture et du langage (courants musicaux, influences stylistiques, contextes harmoniques tonals, modals et atonals, nature et fonction des entités thématiques). Les préoccupations esthétiques majeures des compositeurs du XXe siècle se reflètent clairement dans ce genre pourtant traditionnel mais réactualise par les artistes ; elles transparaissent dans les propos de quelques-uns d'entre eux, et dans un certain nombre de comparaisons entre la France et les autres pays. Le présent travail est complété et illustré par un choix de soixante et un concertos ou concertinos français (notices contenant notamment les dates de composition, de création et d’édition, les noms de lieu des premières et de ses interprètes, une analyse succincte des différents mouvements, des extraits de critiques), soixante-cinq tableaux, cent soixante-dix exemples, une chronologie dénombrant près de deux mille trois cents concertos de toutes nationalités depuis la période post-romantique jusqu'à nos jours, ainsi qu'un index de noms et d'œuvres, une bibliographie et une phonographie sélectives.
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Vázquez, Carlos Balam. "Manuel M. Ponce: A critical study of his Concierto Romántico for piano and orchestra." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3909/.

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The Concierto Romántico for Piano and Orchestra is one of Manuel M. Ponce's outstanding compositional accomplishments from his Romantic period, reflecting both the state of Mexican music at the turn of the 20th century, and his early nationalist tendencies. However, it remains the only concerto in Ponce's output in need of a more comprehensive analysis. This treatise focuses on a global investigative that examines descriptive and analytic references to the work, as well as a comparison and clarification of the existing score sources. An analytical and stylistic musical study using conventional theoretical techniques leads to a musicological interpretation of the work's extra-musical meaning, based on close assessments of Ponce's compositional practice and social principles.
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