Dissertations / Theses: 'Piano music (Jazz), Arranged'

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Ringe, Gerald. "The Historical Importance and Resulting Arrangement of Artie Shaw's Third Stream Composition Interlude in B-flat." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862739/.

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Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experience beyond their abilities, namely improvisation. Second, the instrumentation, string quartet plus jazz combo, is atypical, making it difficult to program. Third, jazz and classical educational worlds do not necessarily overlap or interact, and neither has taken ownership of this Third Stream composition. Lastly, manuscripts, recordings, and other materials for Interlude in B-flat are limited and not readily available. Because Artie Shaw is not only a significant American clarinetist but also an important composer within the Third Stream narrative, Interlude in B-flat should be known and performed. This project aimed to promote the understanding and accessibility of this important and unknown composition to the classical clarinet world by providing an accessible arrangement of the work for clarinet and piano.

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Larsen, Janeen Jess. "Teaching basic jazz piano skills to classically-trained adult pianists a mastery learning approach /." Gainesville, FL, 1986. http://www.archive.org/details/teachingbasicjaz00lars.

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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.

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Roothaan, John P. E. "Perspectives on teaching jazz piano "comping" in the college music program with sample instructional units." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164926.

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The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping.
School of Music

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Lynch, Evan Thomas. "Three Danzas by Puerto Rican Clarinetist/Composer Juan Rios Ovalle Arranged for Clarinet and Piano." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259610054858.

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Frieling, Randall Jay. "A guide to transcriptions and arrangements for two pianos." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019473.

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A Guide to Transcriptions and Arrangements for Two Pianos was designed as a reference tool for the pianist and duo-pianist. 1378 entries are catalogued in this dissertation. Each entry contains information from the following list: Composer name; Birth and death dates; Country; Title of work; Date arrangement written; Publisher; Publisher identification number; Date of publication; Arranger name; Number of pages; Length in minutes; Library or source where found; Origin of work; Editor; Comments and level of difficulty.The writer read music for the research of this dissertation at number of libraries including the Library of Congress. Additionally, an original questionnaire was sent to 393 pianists who are listed as Master Teacher or College Faculty in the 1995 Directory of Nationally Certified Teachers of Music. The results are printed from the 219 replies.
School of Music

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Tengholm, Johan. "Fågeljazz." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3622.

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In this thesis I have examined different bird calls by transcribing them and incorporating them into my music. The incorporation included the writing of three compositions based on the transcriptions and the use of elements derived from the bird calls in my improvisations. The music was performed by an ensemble consisting of eight musicians, including myself, at a concert the 2nd of March 2020. In the first chapter, the purpose of this work is explained, the reader is given insight into how the idea of the project came into being and is being presented to how bird calls have been used earlier in the history of music. In the second chapter, I explain how I transcribed the birds, how I wrote the music, how I worked with improvisation and how the concert was set up. In the third chapter, the thoughts that aroused during the project are discussed and finally, in the fourth chapter, I summarise the experiences I have gained, and how I am going to continue to work in the wake of those.

Sofia Svensson – sång

Sebastian Jonsson – sopransaxofon och tvärflöjt

Oskar Forsberg – fagott

Daniel Gahrton – basklarinett

Linnea Jonsson – trumpet

Anna Gréta Sigurðardóttir – piano

Johan Tengholm – kontrabas

Magnus Jonasson – trummor

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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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Lilley, Andrew. "The jazz piano style : a comparative study of bebop, post-bebop and modern players." Doctoral thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/9262.

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The study embraces a need to document the jazz piano style through analytical representation of key players in the jazz tradition. While there are several educational books outlining method, there is little material discussing jazz style in the context of influential piano players. Educator and author, David Baker, has undertaken to introduce several books from this perspective for some of the more influential horn players (Baker 1982). A search for the jazz style of Bud Powell, Thelonius Monk or Horace Silver, however, will reveal little material and where available this constitutes mostly short biographical information often occupying less than a paragraph within a chapter of historical context. Thomas Owens, for example, discusses the bebop style in 'Bebop, The Music and the Players' (Owens, 1995). He mentions most of the key players for each instrument and discusses their respective stylistic traits. The work is very informative from an overall perspective but serves only to introduce a broad understanding of the players listed. There is very little in-depth analytical discussion or comparative study on style. The subject base is too large for this kind of detail.

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Mateus, Abelita. "The influences contributing to the "samba jazz feel" of Cesar Camargo Mariano's piano trio style." Thesis, The William Paterson University of New Jersey, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1567589.

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This thesis connects the influence of Erroll Garner, George Shearing, Oscar Peterson and Nat King Cole to the establishment of Cesar Camargo Mariano's musical style in a trio setting. It shows that Mariano's piano trio playing created a new feel categorized by this author as "samba jazz feel," which was derived from the fusion of the rhythmic basis of samba with some rhythmic aspects of jazz. To show this, the author uses musical analysis along with qualitative interview data drawn from an exclusive interview with Mariano and from his memoir. Historical aspects of the development of both samba and the swing rhythmic traditions are discussed, as well as historical background on the development of the American and Brazilian music industries. The author claims that while the basis of Cesar Camargo Mariano's musical concept are the samba and bossa nova, jazz stylings greatly influenced the establishment of his musical style, mainly his piano trio style, which is one of the most important representatives of the samba jazz feel.

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Pillman, Laura 1990. "Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538733/.

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Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.

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MANN, JONATHAN EDWARD. "RED, WHITE, AND BLUE NOTES: THE SYMBIOTIC MUSIC OF NIKOLAI KAPUSTIN." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179852881.

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Tyulkova, Yana. "Classical and Jazz Influences in the Music of Nikolai Kapustin| Piano Sonata No. 3, Op. 55." Thesis, West Virginia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702047.

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The subject of this dissertation is the contemporary Russian composer and pianist Nikolai Kapustin. Being himself a virtuoso pianist, Kapustin has written a large repertoire for solo piano. During the last fifteen years, the popularity of Kapustin in the United States has grown enormously through performances, publications, presentations, and recordings. Kapustin's output has over 150 opus numbers in all major forms of Baroque, Classical and Romantic music, such as suite, invention, preludes and fugues, variations, sonata, concerto, and more.

Kapustin's style fuses the classical approach to form and the jazz approach to harmony and rhythm in a very unique way. His compositional style is strongly influenced by American jazz, particularly the style of Oscar Peterson, Art Tatum, Herbie Hancock, and Bill Evans. From the other side, his music is strongly influenced by composers of Classical music such as Alexander Scriabin, Sergei Rachmaninov, Frederick Chopin, Maurice Ravel, and Bela Bartok.

Kapustin composed twenty Piano Sonatas during the period of 1984-2011. There has been little research to this point regarding the music of Kapustin and no formal research has been completed concerning Piano Sonata No. 3. This sonata is the particular scope of this dissertation, as nearly every aspect of Kapustin's compositional style can be found in this work.

Sonata No. 3 was composed in 1990 and was published in August 2014. The Sonata is a one-movement work and it contains a quote of the "Dies Irae" theme, which sets this work apart from his other sonatas.

This dissertation will provide biographical information on Nikolai Kapustin, historical and musical background, and will include an analysis of Piano Sonata No. 3.

Fortunately, the author speaks the Russian language and had opportunities to meet with Nikolai Kapustin. The information obtained in personal interviews with the composer will also be presented.

Hopefully, this dissertation will promote further research, performance, and understanding of the music of one of the most outstanding modern day composers, Nikolai Grigorievich Kapustin.

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Abramova, Tatiana A. "The Synthesis of Jazz and Classical styles in Three Piano Works of Nikolai Kapustin." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/282327.

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Music Performance
D.M.A.
The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school. During his student years (1956 -1961) Kapustin gained popularity as an actively performing jazz pianist. After graduating from the Moscow conservatory, Kapustin joined the famous Oleg Lundstrem Jazz orchestra, which by that time was considered a leading jazz ensemble of Soviet Russia. In the beginning of the 1980's Kapustin focused entirely on composition, when his original style had flourished. The jazz language of Kapustin is a kaleidoscope of styles of the greatest twentieth century jazz composers. Almost every article describing his jazz style mentions the influences of great jazz musicians: Art Tatum, Oscar Peterson, Erroll Garner, and George Gershwin. In my study I am going to take a closer look at how strong those influences are, as well as how Kapustin internalized many different jazz styles and created his own style. Kapustin's style bears qualities that belong to the Soviet jazz of 1950s and 1960s. In the second chapter detailed information will be presented about jazz tradition in Russia. This monograph concentrates on Variations, Op.41 and two Concert Etudes (# 3 and # 4) from Eight Concert Etudes, Op 40, composed in 1984. The Variations, Op.41 demonstrate the richness of Kapustin's style and his dazzling talent. These variations are based on a short Russian-Lithuanian folk theme or motive. The same motive is found in the opening of Stravinsky's "Rite of Spring." Kapustin has transformed an original meditative theme into swing.The analysis of Variation, Op.41 will be followed by the analysis of two etudes (No. 3 & 4) from Eight Concert Etudes, Op.40. The Eight Concert Etudes Op.40 are not only pieces of remarkable technical difficulty, but also pieces of unique beauty and invention with romantic flair. The influence of Russian composers can be seen, including that of Rachmaninoff, Scriabin and Prokofiev. My research on these works will provide a thorough representation of Kapustin as a composer and a pianist; the overview of Nikolai Kapustin's piano works; his contribution to the piano repertoire, and composer's unique place in music history. The monograph will also include comparison of two recordings by Nikolai Kapustin and Marc-Andre Hamelin along with pedagogical recommendations.
Temple University--Theses

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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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Dower, David. "Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1673.

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This practice-led project investigates the crafting of approaches to solo jazz piano performance. Through a study and application of assimilation techniques derived from a range of different music styles, a series of self-accompaniments were devised. In addition, the process of developing improvisational facility over these accompaniment patterns was documented. Although performing solo requires a different approach to ensemble work, jazz pianists are commonly only trained in ensemble practices, rendering the solo setting a potentially overwhelming challenge. In order to move away from ensemble-based methods, the project sought to develop pianistic techniques and exercises that provide an independent approach in solo performance. Techniques such as ‘splitting’ the pianist’s hands to achieve multiple voices, voice-leading, ostinato, and rhythmic focus were explored as methods to develop independent solo performance. The project follows two trajectories. The first was to develop self-accompaniment patterns for solo jazz piano, an area explored by assimilating techniques outside of the jazz idiom into a solo jazz piano context. These techniques were developed within compositions and arrangements. The second was an examination of the practice processes engaged when performing these techniques, including the development of rhythmic coordination to facilitate improvisation over the composed accompaniment patterns. The outcome is an exploration of different approaches to developing confidence and aptitude in solo jazz piano performance. As well as the creation of accompaniment patterns for solo jazz piano performance, outcomes of this project include a greater descriptive understanding of the process of assimilating performance techniques onto the piano, and developing an improvisational approach over ostinato accompaniment figures. The scores, as well as recorded performances featuring improvisations over the composed accompaniments, are included with the exegesis.

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Christensen, Tommy. "Rätt skala blir inte automatiskt en bra improvisation. : En musikanalytisk studie av fem olika pianosolon spelade av erkända jazzmusiker." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-32051.

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Det finns en hel del litteratur som lär ut jazzimprovisation, men få som visar vilka musikaliska strukturer som kan användas för att få det att låta ”jazzigt”. I den här kvalitativa studien utforskas därför likheterna mellan fem olika utvalda jazzimprovisationer i piano. I fokus står improvisationernas musikaliska ”språk” ifråga om musikaliska byggstenar eller strukturer. Forskningsfrågan lyder: Vilka musikaliska ”byggstenar” eller strukturer, har fem olika solon i jazzpiano gemensamt? Syftet med studien är att finna likheter mellan några pianoimprovisationer av kända jazzmusiker. Studien utgår från fenomenologiskt och hermeneutiskt perspektiv. Resultaten visar att de olika musikerna använder sig av en rad olika specifika koncept som de bygger sina jazzimprovisationer på: bluesspråk, side slipping, kromatik och närmandetoner, ackordstoner, reharmonisering, överlagrade ackord och pentatonik. Det fenomen som synes hålla samman dessa koncept är tension and release, som tillsammans med koncepten bidrar till det musikaliska språk som används inom den här delen av jazzgenren. Trots att pianisterna synes bygga sina improvisationer på samma koncept, används dock dessa på så pass varierade sätt, att improvisationerna upplevs som både personliga och kreativa.
It is easy to find literature that teaches jazz improvisations, but hard to find any that really shows which musical structures can be used in order to make a sound “jazzy”. This qualitative study will therefore explore the similarities between five piano-jazz improvisations. The music “language” of the musicians such as the “building blocks” or structure will be in focus when comparing these improvisations. The research question for this study will therefore be: what musical building blocks or structures have the five solos in jazz piano in common? The aim is to find similarities between some piano improvisations done by acclaimed jazz musicians. The study will have a phenomenological and hermeneutic approach. The presented result show that the musicians use a range of specific concepts when building their jazz improvisations; blues, side slipping, chromaticism and approach notes, chord tones, reharmonisation, upper structure triads and pentatonics. The conclusive phenomena has been proven to be tension and release, that together with the concept contributes to the music language that is used within this jazz genre. Even though the different pianists seems to use the same concept when building their improvisations, it is in the way they use them in terms of variation, that makes the solos appear personal and creative.

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Forsgren, Sanna. "Klassiskt, jazz och lärande : jämförelser mellan två musikgenrer inom pianoundervisning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2635.

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I detta självständiga arbete har jag undersökt hur pianopedagoger som undervisar i den klassiska genren och i jazzgenren förändrar sin undervisning beroende på vilken genre elevenspelar i. Målet var att se vilka likheter och skillnader som finns i undervisningen samt att fåkunskap om hur jag som pianist och pedagog kan dra nytta av en sådan jämförande studie. Syftet med undersökningen var att hitta konkreta jämförelsepunkter mellan genrerna samturskilja hur pianopedagoger såg på undervisningen beroende på genre. Men även att som klassisk pianist få en inblick i jazzens tekniska värld och se om de två olika genrerna kanske inte är så olika i grunden. Målet är att kunna identifiera några delar där den klassiska genren och jazzgenren möts i pianoundervisning för att förbättra mitt eget pianospel men även i min roll som pianopedagog samt att kunna hjälpa andra i min position. Ett antal moment kopplade till pianoundervisning samt några specifika moment och övningar valdes ut. Fyra pianopedagoger som samtliga undervisar på minst gymnasienivå i både klassiskt och jazzpiano och har både musikalisk och pedagogisk utbildning från högre lärosäten, valdes ut som intervjupersoner och epostkontakter. Undersökningen visade att pedagogernas undervisningssätt inte ändrades nämnvärt mellan genrerna; vissa delar betonas mer men förhållningssättet är detsamma. Störst var skillnaden i jämförelsen av skalor i respektive genre, dels i hur övningen ska genomföras och dess syfte i respektive genre. Att notbaserad- och gehörsbaserad undervisning kan gå hand i hand framkom i mitt arbete trots att arbetet visar att notbaserad undervisning används lite mer vid klassiskt spel och gehörsbaserad vid jazzundervisning.

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Oxford, William Todd Franck César. "A transcription of César Franck's Sonata in A major for the baritone saxophone." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008249.

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Magalhaes, Luis Miguel de Araujo, and Arnold 1874-1951 Verklärte Nacht arr Schoenberg. "Arnold Schönberg's Verklärte Nacht [music] : transcription for two pianos." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/52692.

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Thesis (M. Mus.) -- University of Stellenbosch, 2002.
Full text to be digitised and attached to bibliographic record.
ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The transcriber cannot imagine how the composer would have done a similar transcription, but the intentions of the composer in the original version can be interpreted and transferred in a stylistically acceptable manner. At all times the possibilities of the instruments should be taken into consideration. Given the complex sound texture of the original version, the suggestions for a twopiano version have to incorporate the following: note length and rest length, sound colour, attack/articulation, bowing, articulation markings, effects and texture. In the assignment an explanation is given of the deviations that stem from the above factors. The awareness of these deviations necessitates a distinction between arrangement and transcription and compels the transcriber to be as faithful to the original score as possible. The explanation of deviations further provides the performer with an awareness of the artistic possibilities that the work provides.
AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die tweeklavier-literatuur. Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op 'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die instrumente moet ook te alle tye in ag geneem word. Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe, fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings, effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die artistieke moontlikhede van die werk.

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Dovel, Jason. "The Influence of Jazz on the Solo Trumpet Compositions of Eugène Bozza." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5186/.

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This paper investigates the influence of jazz on the nine solo trumpet compositions of the French composer Eugène Bozza (1905-1991). Bozza, like many other French composers in the first half of the 20th century, combines traditional elements of western European art music with innovations of American popular music. While Bozza holds a prominent role as a composer of solo trumpet literature in the mid-20th century, little has been written about the influence of jazz in his works. This paper traces the influences of American jazz upon French composers and analyzes the elements of jazz within Bozza's compositions for solo trumpet by comparing them to conventions employed by jazz composers.

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Huntley, Alec Villars. "The Guaraldi Sound: The Musical Devices that Characterize Vince Guaraldi's Improvisational and Compositional Idiom." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752365/.

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Vince Guaraldi (1928-1976) was a jazz pianist who achieved tremendous financial and commercial success in the 1960s with his popular recordings and his work for the Peanuts animated shorts. He cultivated a musical style that drew from several identifiable sources: boogie-woogie, bebop, Brazilian and Afro-Cuban jazz, and rock ‘n' roll. The result was a distinct approach to jazz which, although it may not have been as influential as that of some of his contemporaries, nevertheless constituted a unique and personal voice—what several commentators have referred to as the "Guaraldi sound." This dissertation considers the entire range of Guaraldi's recorded output in order to define and catalog many elements that contributed to Guaraldi's musical style. Using an analytical framework drawn from the work of Leonard Meyer and Benjamin Givan, this study describes both Guaraldi's improvisational style—the licks, patterns, and phrases that he plays while soloing—and common elements of his compositions—the chord progressions, grooves, and other features that are particularly idiomatic. Also discussed are Guaraldi's status within the established jazz canon and the disparity between his widespread popularity and his lukewarm critical reputation. The discussion and analyses provide useful insights for fans of Guaraldi, fans of Peanuts music, jazz musicologists, and any seeking to emulate the Guaraldi sound.

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Chu, Fang-Yi. "Kaikhosru Sorabji's Rapsodie Espagnole de Maurice Ravel, Transcription de Concert pour piano: A Comparison of the Two Versions from 1923 and 1945." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404581/.

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Kaikhosru Shapurji Sorabji (1892-1988) was an English composer-pianist of Parsi descent. Although he composed many works for piano, these compositions remain largely unknown to the public due to the composer's self-imposed 40-year ban on public performances of all his works and the immense technical difficulty of his music. This research proposes a comparative study of Sorabji's two versions of Rapsodie espagnole de Maurice Ravel-Transcription de concert pour piano (1923, 1945). These transcriptions are based on Ravel's orchestral work and are different in terms of the style of their arrangements: the 1923 version is more of a literal transcription, whereas the 1945 version has been expanded upon the former. This dissertation compares the differences between the two versions, as well as identifying how Sorabji infused his own style into the 1945 transcription. This study relies on primary sources including writings and manuscripts of Sorabji, and secondary sources such as articles on interpreting Sorabji's piano works and biographies about Sorabji.

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LONG, JEREMY A. "Sonata for Alto Saxophone and Piano by Phil Woods: An Improvisation-Specific Performer's Guide." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218819411.

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Ramopoulou, Lorenda. "La musique pour piano solo de Nikos Skalkottas." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040017.

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Ce travail est une étude sur le style et les références présentes dans l’œuvre pour piano solo de Nikos Skalkottas (1904-1949). Il (ré)intègre pour la première fois le compositeur dans le milieu des pianistes qu’il a connu pendant ses années berlinoises (1921-1933), en inscrivant l’œuvre dans son contexte et l’ensemble des références auxquelles elle renvoie. Une méthodologie analytique émerge de ces mises en relation, destinée à faciliter le travail de l’interprète et à révéler les composantes stylistiques du corpus. Une importance particulière est portée sur le raffinement du timbre des pianistes berlinois dans l’entre-deux-guerres, mis en valeur par le « son coloré » des Bechstein historiques. Cette observation devient le point de départ d’une série d’analyses graphiques, montrant le rôle de la texture et du timbre en tant qu’éléments compositionnels chez Skalkottas. Les analyses, destinées à être utilisées par les interprètes, dévoilent une interaction de la texture avec le schéma formel. Elles sont complétées par l’étude des pièces, groupées par pôles de référence pour l’ensemble du corpus. Ces références s’étendent de la musique baroque et de Beethoven au jazz dansant et à la musique légère, tout en incluant des éléments provenant de la musique grecque. Les deux approches choisies s’appuient sur des sources mises pour la première fois au service de ce répertoire et s’avèrent complémentaires. Elles ont comme but d’offrir aux pianistes des clés pour son interprétation, de le rendre plus accessible et de faciliter sa propagation
This thesis is a research into the style and influences on the solo piano works of Nikos Skalkottas (1904-1949). For the first time the composer is considered in relation to the pianistic milieu he was acquainted with during his Berlin years (1921-1933) and his oeuvre is examined in the light of its various references. A specific analytical methodology emerges from these influences, aiming at facilitating the performer’s work and revealing the stylistic components of the pieces. The refinement of the timbre in the playing of Berlin pianists in the interwar years, enhanced by the “coloured sound” of the Bechstein historical pianos, acquires a special importance. It leads to a series of analyses and graphs, showing the role of texture and timbre as compositional elements in Skalkottas’s piano music. The graphs, meant for the use of pianists, reveal an interaction between texture and form. This is complemented by the study of the piano pieces grouped according to their references; they extend from baroque music and Beethoven to dance jazz, light music, and Greek music elements. Both approaches can be justified from the study of primary sources, used for the first time in relation to this repertoire, and are complementary. By offering pianists new tools for its interpretation, the aim is to facilitate the access to this music and help its further promotion

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Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16621/1/Clare_Hansson_Thesis.pdf.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

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Broström, Olle. "Effekter av plankning : Utvecklande av solospel på piano." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3900.

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Improvisation är konsten att komponera, uttala, arrangera eller framställa någonting ej förberett. Hur gör man då för att lära sig musikalisk improvisation? Vanligen sker detta med hjälp av en musikteoretisk ingång. Detta arbete syftar därför till att ta reda på vad ett inlärningssätt på en gehörsbaserad grund kan ha för effekter. Metoden har varit att planka olika pianisters solon på samma låt och göra en egen inspelning, även den på samma låt både före och efter plankningen för att kunna jämföra dessa båda inspelningar och observera vilka resultat arbetet givit. Det har även gjorts en inspelning på en annan liknande låt både före och efter plankningen för att undersöka om utveckling som skett i den första låten även är överförbart till andra låtar. Resultatet tyder på att ett plankningsarbete leder till utveckling inom parametrarna timing och frasering, men att andra tillvägagångssätt är nödvändiga för att stärka sådant som rytm och tonmaterial.

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O'Meara, Connor. "Selected Orchestral Excerpts for Bass Clarinet with Piano Reduction." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984170/.

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The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.

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Johansson, Tobias. "Att våga välja mig." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2370.

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Som en avslutning kommer den viktigaste lärdomen jag lärt mig under det här projektet: Det finns aldrig någon anledning att inte satsa fullt ut på det man gör. På många sätt är detta första gången jag vågar göra det och vad jag fått tillbaka av det är helt otroligt. Både för hur mina musiker har agerat men också hur jag har mått under projektets gång. även om jag på många sätt har vunnit över min egen självdestruktivitet kommer jag alltid att ha kvar tendenserna. Att då försätta mig i en situation där jag satsar fullt ut mår jag väldigt bra av även om jag då får mer att förlora.

Medverkande:

Tobias Johansson

Lovisa Jennervall

Ingrid Malmén

Anna Lindahl

Sara Sissay

Jonathan Lindh

Oskar Lindwall

Jonathan Stribrny

Alexander Ivarsson

Martin Wirén

Filip Tunevi

Terese Lien Evenstad

Lovisa Säfström

Zaida Ponthin

Agnes Magnusson

Ebba Lorentzi

Tom Olovsson

Oskar Mattson

All musik är skriven av mig, förutom:

Its only you - Salem Al Fakir

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30

Kim, Ah Young. "A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.

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Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.

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31

Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.

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Abstract:

This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

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Kim, Yoomi J. "The Evolution of Alexina Louie’s Piano Music: Reflections of a Soul Searching Journey." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1241858005.

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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.

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Seong, Sekyeong. "Bagatelles No. 6 and No. 8, Op. 59 by Nikolai Kapustin:Background, Analysis, and Performance Guideline." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429867811.

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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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Zethson, Alexander. "Pole of inaccessibility." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2393.

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Norton, Colby Jackson. ""Worlds Beyond": A Stylistic Analysis of Collage in the Music of Daniel Schnyder as a Universal Model for the Bass Trombone Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707313/.

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The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.

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Schellhas, Daniel H. "PEREGRINATION: A MUSICAL SKETCH OF EUROPE IN FOUR MOVEMENTS." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174323599.

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Thesis (M.M.)--Bowling Green State University, 2007.
For alto saxophone in E♭, violoncello, piano, percussion (vibraphone, crystal glasses (C,E,G♯, B)) Document formatted into pages; contains 1 score (19 p.) Duration: ca. 13 min. Includes bibliographical references.

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Lin, Sheng-Hsin. "Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849742/.

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David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles. The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).

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Prado, Aaron. "Doctoral thesis recital (jazz piano)." Thesis, 2012. http://hdl.handle.net/2152/24016.

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Bianchini, Gianni. "Doctoral thesis recital (jazz piano)." 2015. http://hdl.handle.net/2152/29653.

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Redner, Daniel Richard. "Master's thesis recital (piano)." Thesis, 2013. http://hdl.handle.net/2152/23269.

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Sirabhorn / Pat Metheny -- Cute / Neal Hefti -- The nearness of you / Hoagy Carmichael -- Tell me a bedtime story / Herbie Hancock -- Toy tune / Wayne Shorter -- Almost there / Daniel Redner -- Grow your own / Keith Jarrett.
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Chen, Tzu-yun Baltzer Rebecca A. Guerra Lita. "A century of Schubert Lieder transcriptions for piano." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110722.

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Voltchok, Anastasia. "The art of piano transcription as represented in works of Franz Liszt and Sergey Prokofiev." 2005. http://hdl.handle.net/1903/9751.

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Prado, Aaron. "Doctoral thesis recital (lecture recital, piano)." 2014. http://hdl.handle.net/2152/24006.

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Karakousoglou, Nora. "Doctoral thesis recital (cello)." 2014. http://hdl.handle.net/2152/26596.

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Cello concerto in D major, op. 101. Allegro moderato / Joseph Haydn ; cadenza by Nora Karakousoglou -- Sonata for piano and cello in B-flat major, op. 45 / Felix Mendelssohn -- Diptychom : for solo cello / Georgios Kassoglou -- From Carnival of the animals. The swan ; Allegro appassionato : op. 43 / Camille Saint-Saens -- Sicilienne / Maria-Theresia von Paradis -- Sicilienne, op. 78 / Gabriel Faure -- Mazurka, op. 11, no. 3 ; Gnomentanz : op. 50, no. 2 ; Tarantella, op. 33 / David Popper.
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Parsons, Sean Steven. "Analytical insights of personal compositions for jazz piano trio /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3223687.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2006.
Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2388. Adviser: Charles McNeill. Includes bibliographical references (leaves 110-113) Available on microfilm from Pro Quest Information and Learning.

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Van, Dessel Joan Elizabeth Kowalsky Frank. "Reexamining the standard clarinet repertoire A selective annotated bibliography of transcriptions for the solo clarinet and clarinet and piano /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-03262006-163952/.

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Treatise (D.M.A.) Florida State University, 2006.
Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

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Stoltzman, Peter John. "A class piano course of study for music industry majors based on popular music and jazz." Thesis, 2014. http://hdl.handle.net/2152/26080.

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Tens of thousands of music students enroll in group piano classes each year in colleges and conservatories in the United States. Degree programs related to Music Industry are attracting increasingly diverse student populations and in turn are requiring curricular and instructional modifications that better accommodate the needs of these students. The basis of this dissertation is the development of a series of contemporary class piano workbooks that focus on contemporary popular music and jazz in ways that optimize student learning, combining wide-ranging repertoire with assignments that encourage independent application of knowledge and skills. The workbooks illuminate how the piano is used in professional performance and recording; develop skills that can translate directly into professional music settings; and afford students opportunities to understand, learn, and play music that friends, family, and students themselves know and enjoy.
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Chen, Tzu-yun. "A century of Schubert Lieder transcriptions for piano." 2003. http://hdl.handle.net/2152/11966.

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Dissertations / Theses on the topic 'Piano music (Jazz), Arranged'

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