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Dissertations / Theses on the topic 'Piano concertos'

Author: Grafiati

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

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7

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 ar

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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 u

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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 topi

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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

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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.

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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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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 tech

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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

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26

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

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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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28

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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29

Liu, Louise Jiayin. "Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovskys 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

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30

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 Lieber

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31

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 pre

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32

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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33

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 reflex

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34

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

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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

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36

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

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37

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 th

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38

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 melo

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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 r

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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 harmoniou

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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 a

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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

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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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44

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

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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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48

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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49

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, influen

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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

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