Dissertations / Theses: 'Prelude (Music)'

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Strand, Kenneth Allan. "Big prelude : for orchestra /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/9166.

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Williams, Evan Michael. "Prelude in Tempore Belli." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363527260.

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Racadag, Alan. "One: Prelude And Partial Postlude." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503782.

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Howard, Chris 1967. "Prelude, chorale and fantasy : Ecclesiastes 12." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69607.

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The Prelude, Chorale and Fantasy is a tonally conceived work for orchestra with a duration of approximately twenty minutes which uses as its inspiration the final chapter of Ecclesiastes. It is constructed from a relatively small number of germinal elements which function throughout the work as connecting forces and icons. In it can be found musical ideas used to represent the Trinity, the most significant of which are the quotations of the hymn "How Brightly Shines the Morning Star" which appear throughout. A greater understanding of the work can be gained by approaching it first on a philosophical level, making connections between the Biblical text and the music and extrapolating from those connections. Following this, a step by step analysis will show the microscopic structure of the work and its relationship to the larger form.

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Edin, Martin. "Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel." Thesis, Örebro University, School of Music, Theatre and Art, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-8525.

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This essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of improvising to modern piano playing. The artistic part of the work is as important as the theoretical, and the two strands are supporting and reinforcing each other.The first section of the text focuses on preluding – that is, a genre of improvisation. The second section investigates some aspects of the improvising of Franz Liszt – that is, different types of improvisation as practised by an important nineteenth century musician. The instructional music literature written by Carl Czerny is the basic source of reference in both portions.The text and the recordings of my piano improvisations aim to show that monothematic strategies are simple and useful tools for improvising, regardless of tonal language used.Half of the recordings consist of improvisations of separate pieces in a contemporary musical language. The other half are preludes, interludes and a cadenza improvised in the context of compositions by Liszt, Chopin, Mozart, Mendelssohn and Grieg.

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Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0052.

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Beuerman, Eric G. "The evolution of the twenty-four prelude set for piano." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289865.

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The set of preludes containing twenty-four preludes is an important compositional form used throughout the Common Practice Period. The twenty-four prelude set generally includes preludes written in each key and mode. Early sets include preludes or fantasies composed in each mode. Composers exploited and advocated the advent of equal-temperament tuning (at the turn of the eighteenth century) by organizing preludes in each major and minor key. Since then, the number of prelude sets has increased greatly, particularly during the nineteenth and twentieth centuries. Although music today has moved beyond the confines or parameters of major and minor tonalities, composers continue to use the twenty-four prelude set to collect preludes, including some atonal sets. The twenty-four prelude set model extends to sets of twenty-five preludes that begin and end in the same key and twenty-four preludes without keys. Composers use different methods of tonal organization in their sets of preludes: two principal methods are progression through the chromatic scale and progression through the circle of fifths. Within those two methods are variations. Other composers use unique forms of organization, and some do not attempt a systematic method of organization. Several types of prelude sets appear, including preludes of virtuosity, preludes for pedagogical purposes, preludes as improvisatory warm-ups, preludes paired with fugues, and prelude sets that are performed as a whole. One must weigh various considerations when performing a set or smaller grouping of preludes. Over forty sets of preludes are surveyed, and four sets are examined in detail representing different methods of tonal organization, different types of prelude sets, and different historical periods: Fischer's Ariadne Musica, Hummel's Twenty-Four Preludes op. 67, Alkan's Twenty-Five Preludes op. 31, and Duckworth's The Time Curve Preludes.

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Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form." University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.

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This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.

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Stevens, Daniel Brent. "Rebecca Clarke: A Viola Duo Transcription of the Prelude, Allegro, and Pastorale." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30513/.

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Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.

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Lee, Jiyoung. "Dietrich Buxtehude's 'Nun freut euch, lieben Christen gmein' : the culmination of chorale fantasy /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11443.

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LEE, YANGKYUNG. "NON-HARMONIC TONES AS AESTHETIC ELEMENTS IN CHOPIN'S PRELUDES, OP.28." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1022589730.

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Krämer, Reiner. "Algorithmic Music Analysis: a Case Study of a Prelude From David Cope’s “From Darkness, Light”." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801959/.

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The use of algorithms in compositional practice has been in use for centuries. With the advent of computers, formalized procedures have become an important part of computer music. David Cope is an American composer that has pioneered systems that make use of artificial intelligence programming techniques. In this dissertation one of David Cope’s compositions that was generated with one of his processes is examined in detail. A general timeline of algorithmic compositional practice is outlined from a historical perspective, and realized in the Common Lisp programming language as a musicological tool. David Cope’s compositional output is summarized with an explanation of what types of systems he has utilized in the analyses of other composers’ music, and the composition of his own music. Twentieth century analyses techniques are formalized within Common Lisp as algorithmic analyses tools. The tools are then combined with techniques developed within other computational music analyses tools, and applied toward the analysis of Cope’s prelude. A traditional music theory analysis of the composition is provided, and outcomes of computational analyses augment the traditional analysis. The outcome of the computational analyses, or algorithmic analyses, is represented in statistical data, and corresponding probabilities. From the resulting data sets part of a machine-learning technique algorithm devises semantic networks. The semantic networks represent chord succession and voice leading rules that underlie the framework of Cope’s prelude.

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Dube, Michelle Claire. "Prelude of Suite V for cello solo by J. S. Bach: Options for performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.

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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, significant and pertinent information can be gained from this manuscript. Chords, intervals, differing sequence patterns, and differing pitches are all evident when comparing the lute version with the manuscript copies. Many of the added notes from the lute version are playable on the cello and add to the resulting harmony. These playable notes are included in the Appendix in the author's own edition of the Prelude to Suite V based upon the lute score. While a cellist may not choose to follow the lute score, many questions stemming from the variances found in the manuscript copies can be made clearer. The Prelude to Suite V was written in the French overture form. There is much controversy as to the manner in which a French overture should be performed. Thus, the performance practice of the French overture style is discussed and presented. Proponents of the style feel it pertained to music of the Baroque period, irregardless if it was written by a French composer, while others feel that no such style existed and there was no basis to include Bach's music in the use of the French overture style. Both sides of the French overture style are presented and related to the performance, specifically, to the Prelude of Suite V for cello solo.

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Ronqui, Paulo Adriano 1977. "O Naipe de Trompete e Cornet nosPrelúdios e Sinfonias das Óperas de Antônio Carlos Gomes." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283960.

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Orientador: Roberto Cesar Pires Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Made available in DSpace on 2018-08-16T18:29:32Z (GMT). No. of bitstreams: 1 Ronqui_PauloAdriano_D.pdf: 3859164 bytes, checksum: 420c2d572490cf1895bccf44bf668277 (MD5) Previous issue date: 2010 Resumo: Ciente da necessidade e importância de trabalhos direcionados ao estudo do naipe de trompete em obras sinfônicas brasileiras, esta pesquisa se propôs a investigar a constituição do naipe de trompete e cornet nos Prelúdios e Sinfonias das óperas de Antônio Carlos Gomes. Com esse objetivo, estudou-se a contribuição instrumental de Carlos Gomes para a música brasileira e italiana no século XIX, além da evolução na construção dos trompetes de válvula na Europa e o uso precoce desses instrumentos por Gomes no Brasil. Por meio dessa investigação, comprovou-se a originalidade no emprego de diferentes conotações de naipe de trompete e cornet realizada em ambos os países pelo compositor campineiro. O trabalho de performance da pesquisa, deu-se através da reedição das partituras do naipe de trompete e cornet das obras estudadas, a partir dos manuscritos autógrafos. Completada a edição, selecionaram-se os trechos musicais mais relevantes para o naipe, às quais se propuseram sugestões interpretativas. Após esse trabalho, os excertos escolhidos foram gravados, a fim de oferecer referencial auditivo Abstract: Aware of the need and importance of works aimed to study the trumpet section in brazilian symphonic works, this research intends to investigate the formation of trumpet and cornet section in the Preludes and Symphonies from Antonio Carlos Gomes' operas. For this purpose, was studied the instrumental contribution of Carlos Gomes for the Italian and Brazilian music in the nineteenth century, as well as the developments in the construction of the trumpet valve in Europe and the early use of these instruments by Gomes in Brazil. With this research, we can prove the originality of using of different connotations of the trumpet and the cornet section in both countries by the campineiro composer. The performance work of this research was made with the reedition of the trumpet and cornet section's score by using the autograph manuscripts. Completed the edition were selected the most relevant musical excerpts to the section, which were proposed interpretative suggestions. After this work the excerpts chosen were recorded in order to provide a hearing reference Doutorado Musica Doutor em Música

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Resnianski, Igor. "RODION SHCHEDRIN'S TWENTY-FOUR PRELUDES AND FUGUES: HISTORIC, ANALYTIC, PERFORMANCE, AND PEDAGOGIC PERSPECTIVES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/68013.

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Music Performance D.M.A. The Twenty-Four Preludes and Fugues of Rodion Shchedrin is the magnum opus of perhaps the most respected living Russian composer, whose music is virtually unknown in the United States. Inspired by J. S. Bach and following in the footsteps of Dmitri Shostakovich, Shchedrin produced this impressive and original cycle for solo piano. It was written during the span of about six years, from 1964 to 1970. Since then, most of the preludes and fugues have become popular among students and pedagogues in Russian colleges and conservatories. The purpose of this monograph is to introduce this commendable work in the United States and to provide comprehensive structural analysis with performance suggestions and pedagogic overview. For each Prelude and Fugue, this monograph provides clear structural tables, which summarize form, compositional techniques, and rhythmic, textural, and polyphonic organization. In addition it provides performance and pedagogic evaluation of the entire cycle, with short discussions of each prelude and fugue. This monograph begins with a biographic overview of the composer, including a discussion of general aspects of his style, with information about Shchedrin's formal music education in Soviet Russia and influences that helped form his musical language. It also provides an historical context for Shchedrin's cycle, citing precedents for his work. With the growing popularity of Rodion Shchedrin's music outside of Russia, this monograph will be a valuable resource for musicians who are interested in teaching, performing, or studying selected Preludes and Fugues from his cycle. Temple University--Theses

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Reynolds, Martin C. "The unpublished wind band music of James Clifton Williams: Overview, annotations, and performance strategies of Prelude for Concert Band and "Dramatic Interlude"." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280091.

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The published music of James Clifton Williams (1923--1976) has served as a cornerstone in the repertoire of the wind band for over fifty years. Williams' compositional exploration of rhythm, tonality, motivic development, and orchestration was significant enough at the time of composition to gain the attention of many conductors, scholars, and educators. The result of this recognition was the wide-spread performance and publication of thirty-one of his works for wind band over the final twenty years of his life. This study reveals Williams' wind band materials that presently remain unpublished. Specifically, two works, Prelude for Concert Band and Dramatic Interlude, from the beginning and end of his career respectively, are the focus. Included are highlights of Williams' compositional output and parallels to his published work are drawn in order to establish relevancy and quality of his breadth of composition. A listing of the known unpublished wind band works is added as appendix B. By doing so, the wind band community gains a cursory knowledge of the amount of unpublished materials that deserve further attention and possible exploration. This study produced computer-generated performing editions of Prelude for Concert Band and Dramatic Interlude. The performing editions have been compiled and edited for contemporary usage from existing original manuscript scores and parts. Chapter 1 contains a biographical sketch, a summary of his works, a performance background of his compositions, and a survey of the composer's compositional style. Chapter 2 provides an overview, annotations, and performance strategies for Prelude for Concert Band and Dramatic Interlude . Chapter 3 gives a summary of Williams and his unpublished compositions. The appendices F and G provide full conductor scores of Prelude and Dramatic Interlude.

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Gamar, Tetyana. "Från ett piano till en orgel : En studie om Franz Liszt som orgeltonsättare med särskilt fokus på hans ”Preludium och fuga BACH”." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2695.

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Examensarbetet handlar om min instudering av hur F. Liszts hanterade orgel och fugaformen. Som exempel tog jag hans BACH Preludium och fuga, eftersom fugaformen och harmoniken var viktiga för honom. Det finns både orgel och piano version av detta verk och det kommer att vara intressant för mig som både pianist och organist att jämföra båda versioner.

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Van, der Hoven Wikus. "Invictus : Orchestral Prelude in 3 movements by Noel Stockton : analytical discussion of the synthesis of the basic elements of music in a third stream composition." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23621.

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This study aims to describe how the basic elements of music are synthesised and manipulated to create a composition in the musical style called Third stream music. This is done through a comprehensive description of the background of this musical style and a detailed analysis of a case study Third stream work, Invictus: Orchestral Prelude in 3 Movements, by the South African composer Noel Stockton and commissioned by the South African Music Rights rganisation. Copyright Dissertation (MMus)--University of Pretoria, 2010. Music unrestricted

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Pereira, Renata. "Flauta doce e a arte de preludiar: tradução comentada do tratado L\'Art de Preluder (1719) de Jacques Martin Hotteterre - Le Romain." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-27102010-141600/.

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Esta dissertação consiste na tradução comentada do tratado L\'Art de Preluder de Jacques Martin Hotteterre - Le Romain (1674-1763), publicado em Paris em 1719. Este trabalho teve como objetivo ampliar a literatura em língua portuguesa para a flauta doce, tornando-o acessível aos estudantes de música e principalmente aos instrumentistas de sopro que se preocupam com uma performance historicamente orientada. Para tanto, foram estudados termos importantes que circundam a Arte de Preludiar de Hotteterre de acordo com as fontes primárias, como os dicionários setecentistas de Furetière e Brossard, e fontes secundárias, como o dicionário de Benoit. A pesquisa de termos indicou a dimensão retórica de diversos conceitos utilizados no tratado, tais como arte, engenho, capricho, princípios, método etc. Além da pesquisa de elementos gerais pertencentes ao estilo barroco francês, uma biografia do instrumentista e compositor, a relação de suas obras e, ainda, o resgate do significado setecentista do gênero musical \"prelúdio\", são partes integrantes deste trabalho. Este trabalho mostra que a técnica de improvisação apresentada por Hotteterre é baseada em práticas francesas e italianas. Esse fato permitiu conhecer uma nova dimensão da influência italiana na música francesa do início do Setecentos. This work is a commented translation of the treaty L\'Art de Preluder by Jacques Martin Hotteterre Le Romain (1674-1783), published in Paris in 1719. The purpose of this work is to extend the recorder references in Portuguese language, making it accessible to music students and wind musicians that care about historical performance. For that, all-important terms that were used in the treaty were studied with the primary sources, like Brossard and Furetières eighteenth dictionaries, and with secondary sources, like the Benoit Dictionary. This research of terms points to a rhetorical dimension of various terms used in the treated, like art, wit (ingenium), caprice, principles, method, etc. Beyond the research of French styles general elements, a musician composers biography, his works list, and so the eighteenth means of the prelude musical genre, are part of this work. The research points that Hotteterres improvisation technique is based in Italian and French practices. This fact allowed to know a new dimension of the Italian influence in the French early eighteenth century music.

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Youngerman, Irit. "J.S. Bach's Suite in C Major for violoncello solo an analysis through application of a historical approach /." Cincinnati, Ohio : University of Cincinnati, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1037899165.

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Lee, Jung-Ok. "A study of two organ chorale preludes of Johann Sebastian Bach (1685-1750) transcribed by Wilhelm Kempff (1895-1991)." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2564.

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Wilhelm Kempff was one of the greatest pianists of the twentieth century, and his interpretation of Germanic piano literature has been honored in Europe, Africa, Asia, and America by many distinguished musicians and music-lovers. But perhaps because he was already sixty-nine years old at the time of his American debut in New York in 1964, his reputation as a pianist tends to be disregarded in English speaking nations. Even Alfred Brendel acknowledges in his book Me of All People: "I return again and again to Kempff, because he is a pianist who seems frequently underestimated today." Furthermore, Kempff's activities as a transcriber, organist, and composer are even less well known. Thus this paper will introduce Wilhelm Kempff's life and music, and present a study of his solo piano transcriptions of J. S. Bach's chorale preludes for organ. In Kempff's autobiographical novel, Unter Dem Zimbelstern: Das Werden eines Musikers ("Under the Cymbal Star: The Development of a Musician"), a Bildungsroman ("education novel") published in 1951 when he was fifty-six years old, he describes the environment in which he grew up: an environment steeped in music and Protestantism. Within a strong family tradition of church music organists, he heard Bach's organ repertoire, as well as conversations about Lutheran faith. His father and paternal grandfather were both Lutheran church organists, and Kempff too was an excellent organist. J. S. Bach's organ repertoire, especially his chorale for organ, were deeply ingrained in Kempff's childhood. It is generally very difficult to find sacred music repertoire for the piano; however, Kempff's transcriptions of the chorale preludes represent a small--though important--contribution of sacred literature to the piano repertoire. In The Pianist's Guide to Transcriptions, Arrangements, and Paraphrases, Maurice Hinson characterizes Kempff's transcriptions as follows: "Kempff makes clear distinctions between the various parts and uses ingenious fingering to create beautiful legato (without relying totally on the pedal). He also seems to enjoy the interplay of tone colors, finding the right register, and establishing the particular timbre of each part in polyphonic writing." This paper will examine: 1) basic transcription techniques; 2) coloration/timbre; 3) fingering to create beautiful legato; 4) pedaling; and 5) pedagogical suggestions. Kempff transcribed eight of Bach Chorales for solo piano, two of which will be discussed in this paper: 1) Ich ruf zu dir, Herr Jesu Christ ("I call to you, Lord Jesus Christ" BWV639,); 2) Nun Komm der Heiden Heiland ("The Saviour of the Heathen now comes," BWV659a). This paper also will present a brief history of piano transcriptions, followed by a detailed analysis of the two chorales, examining Kempff's methods through comparison with the original works for organ, and demonstrating how Kempff's musicianship as a pianist and organist is reflected in his Bach transcriptions.

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Laney, Ryan Ray. "A master's report in conducting for winds & percussion: analyses and rehearsal strategies for Sonata no. 13 by Giovanni Gabrieli, Serenade no. 12 in C minor by Wolfgang Amadeus Mozart, and Prelude, siciliano and rondo by Malcolm Arnold." Kansas State University, 2012. http://hdl.handle.net/2097/13681.

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Master of Music Department of Music Frank Tracz This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master's in Music degree. It contains theoretical, historical, and rehearsal analyses for Sonata No. 13 by Giovanni Gabrieli as arranged for brass octet by Glenn Smith, movements II. Andante and III. Minuet & Trio from Serenade No. 12 in c minor by Wolfgang Amadeus Mozart as edited by Frederick Fennell, and Prelude, Siciliano and Rondo by Sir Malcolm Arnold as arranged for full symphonic band by John P. Paynter. Prelude, Siciliano and Rondo was performed by the Kansas State University Wind Ensemble on February 15, 2012 in McCain Auditorium on the Kansas State University campus. Sonata No. 13 was performed by members of the Kansas State University Brass Ensemble on April 18th, 2012 in McCain Auditorium. There was no formal performance or rehearsal for Serenade No. 12 in c minor. The analytical methods employed in this report include the Unit Study approach used in the Teaching Music Through Performance in Band book series and the Tracz method of macro-micro-macro graphical score analysis.

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Tutton, Virginia W. "A STUDY OF THE VARYING INTERPRETATIONS OF THE OPENING FLUTE SOLO IN DEBUSSY’S PRELUDE A L’APRES-MIDI D’UN FAUNE THROUGH 90 YEARS OF SOUND RECORDINGS; WITH SPECIAL CONSIDERATION FOR THE PERFORMANCES AND PEDAGOGY OF WILLIAM KINCAID." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/117.

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Claude Debussy's Prelude a l’apres-midi d’un faune [Prelude to the Afternoon of a Faun] opens with an unaccompanied flute solo that famously tests breath control, tone production, and capacity for musical expression. All aspiring flutists must master this solo, because it is frequently requested on orchestral and collegiate auditions. To aid flutists in their preparation, many notable pedagogues and performers have provided written and verbal commentary with suggestions for crafting a successful performance; however, it is unclear whether or not actual performances reflect these teachings. In other words, do the pedagogues practice what they preach? This study uses audio analysis to objectively analyze quantifiable aspects of ninety years of recordings of Prelude a l’apres-midi d’un faune and compares the results to current pedagogy. This study’s findings fall into four categories: (1) breath placement, (2) tempo and rubato, (3) vibrato, and (4) general expression. Because of the influence and historical significance of American flutist William Kincaid, a giant of twentieth-century performance and pedagogy, special consideration is given to specific recordings and teaching of Kincaid. The analysis that follows demonstrates disparity between performance practice and pedagogy and will allow flute students and teachers to make better-informed decisions interpreting Prelude a l’apres-midi d’un faune.

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Buxton, Robert S. "Musical Time and Memory: A Bergsonian Interpretation of Sergei Rachmaninoff's Prelude Op. 32 No. 10 in B Minor." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248480/.

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This study uses Bergson's concepts of duration and spontaneous (now termed episodic) memory to reveal how musical material in Rachmaninoff's Prelude Op. 32 No. 10 in B Minor (1910) turns back on itself in recurring remembrances of its own past, bringing the listener out of ordinary time; a process that mirrors themes both from Rachmaninoff's life, and Arnold Böcklin's Die Heimkehr, the painting that inspired this piece. Time perception slows or even suspends when one reflects on the past, either a personal past or the historical past. Musical material in the Prelude undergoes analogous time warps. In conversation with Bergson's ideas, this study illustrates the unique temporal qualities in the musical language of the Prelude, for which standard forms of analysis fail to completely capture the essence. The overall aim is to demonstrate Rachmaninoff's idiosyncratic approach to piano writing, which many have discredited as anachronistic. This study suggests a new methodology – Bergsonian musical analysis – with which to understand the concealed innovations in Rachmaninoff's piano idiom. This study of Rachmaninoff's B Minor Prelude builds on publications concerning other Bergsonian interpretations of music in pursuing a thorough investigation of one work and its relationship with broader issues in philosophy and visual art. The result is a theoretical engagement with the Prelude that establishes a new methodology to deal with Rachmaninoff's piano idiom in general. A Bergsonian analytical technique reveals the real artistry behind Rachmaninoff's compositions – not just remnants of some past romantic idiom, but an idiosyncratic musical grappling with the nature of time and memory.

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Smith, Gavin W. "An examination of major works for wind band and percussion ensemble : Spring wind -- weather movement I and Storm warning and dance -- Weather movement II by Steve Riley, Prelude op. 34, no. 14 by Dmitri Shostakovich and Tempered steel by Charles R. Young." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/299.

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Jochum, Dara C. "An examination of works for wind band: Old churches by Michael Colgrass, Little suite for band by Clare Grundman, This is my father’s world by Franklin L. Sheppard and Hymn setting by Fred J. Allen, and Prelude and primal danse by Ed Huckeby." Kansas State University, 2009. http://hdl.handle.net/2097/1690.

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Master of Music Department of Music Frank C. Tracz This document is based on the preparation, rehearsal, and performance of selected pieces for the Graduate Conducting Recital of Dara C. Jochum. The pieces examined in the theoretical and historical analysis for this report are Old Churches by Michael Colgrass, Little Suite for Band by Clare Grundman, This Is My Father’s World by Franklin L. Sheppard with hymn setting by Fred J. Allen, and Prelude and Primal Danse by Ed Huckeby. This document also contains rehearsal plans and procedures for the preparation of the literature. The recital was performed on March 7, 2008 in Hart Recital Hall on the campus of the University of Central Missouri, and was performed by the members of the Leeton High School Concert Band as well as guest performers from the University of Central Missouri Wind Ensemble.

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Donovan, John McKee. "A study of the works From My Little Island: Folk Song by Robert Aldridge, Nagoya Marimbas by Steve Reich, Ti Mon Bo by Tito Puente, Trio Per Uno by Nebojsa Zivkovic, Wind in the Bamboo Grove by Keiko Abe, Eight Pieces for Four Timpani: VIII. March by Elliott Carter, Douze Études: No. 9 by Jacques Delécluse, Prelude to a Dream by Bryce Craig, Birifor Funeral Repertoire, Log Cabin Blues by George Hamilton Green." Kansas State University, 2017. http://hdl.handle.net/2097/35422.

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Master of Music Department of Music, Theatre, and Dance Kurt R. Gartner This document is an analysis of the all of the pieces prepared for my master’s recital which was given on March 12, 2017 in Kirmser Hall on the campus of Kansas State University. I have analyzed these piece from both a theoretical and historical point of view. When programming a recital, especially a recital for a collegiate percussion student, it is important to have a diverse representation of percussion music to demonstrate a broad knowledge of music and technical ability.

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Kang, Dong Hyun. "Interpretation of Karol Szymanowski's Piano Music: Performer's Guide to Selected Piano Works: Prelude, Op. 1, No. 7, Variations in B-flat Minor, Op. 3, Masques, Op. 34, No. 1, "Sheherazade," and Mazurkas, Op. 50, Nos. 1 and 2." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535380993670665.

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Van, Wyk Theodore Justin. "The Harmonische Seelenlust (1733) by G.F. Kauffmann (1679-1735) a critical study of his organ registration indications /." Thesis, Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-09152005-095735/.

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Vazquez, Medrano Oscar. "A study of L. Van Beethoven’s Sonata Op. 31, No.1; Chopin’s Nocturne Op. 55, No. 2 and Ballade Op. 23; Ponce’s Prelude and Fugue on a theme by Handel; and Larregla’s ¡Viva Navarra! Jota de Concierto: Historical, theoretical and stylistic implications." Kansas State University, 2018. http://hdl.handle.net/2097/38758.

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Master of Music School of Music, Theatre, and Dance Slawomir Dobrzanski The purpose of this Master’s report is to analyze the five-piano works at the author’s piano recital on April 8, 2018. The discussed pieces are Ludwig van Beethoven’s Sonata in G major Op. 31, No.1; Fryderyk Franciszek Chopin’s Nocturne Op. 55, No. 2 and Ballade in G minor, Op. 23; Manuel M. Ponce’s Prelude and Fugue on a theme by Handel; and Joaquín Larregla Urbieta’s ¡Viva Navarra! Jota de Concierto. The author approaches the analysis and study of the pieces from the historical, theoretical, and stylistic perspectives.

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Li, Jingbei. "The Preludes in Chinese Style: Three Selected Piano Preludes from Ding Shan-de, Chen Ming-zhi and Zhang Shuai to Exemplify the Varieties of Chinese Piano Preludes." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574682375531785.

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Kiatvongcharoen, Usa. "Analytical approaches to three of Debussy's preludes for piano." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20665635.

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33

Chou, Lin-San. "Analysis of and Performance Suggestions for Astor Piazzolla’s Piano Solo Work, Three Preludes: Leijia’s Game, Flora’s Game, Sunny’s Game." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273250807.

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34

Huether, Joy 1985. "Villa-Lobos’s Cinq Preludes: An Analysis of Influences." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11515.

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ix, 82 p. : music While musical styles from various parts of the world intermingled in the early twentieth century, Heitor Villa-Lobos sought to promote Brazilian music throughout the classical music world. Instead of presenting only Brazilian styles, Villa-Lobos, in an attempt to showcase the international adaptability of Brazil's musical culture, developed a style all his own, which was a combination of his classical training in the western tradition and his first-hand experience with both Brazilian popular and Native Brazilian music. Much of his music manifests these influences, but his music for solo guitar, Brazil's national instrument, also features new techniques and timbres. This thesis examines the interaction of the various styles and techniques used in his <italic>Cinq Preludes</italic> for solo guitar. Committee in charge: Jack Boss, Chairperson; Steven Rodgers, Member; David Case, Member

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Westacott, Graeme John. "The rhetoric of the north German organ school /." The rhetoric of the north German organ schoolRead the abstract of the thesis, 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19396.pdf.

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Bell, Cully. "Scriabin’s Preludes, Opus 11: A Pedagogical Guide." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1328546129.

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Francis, Kelly Anne. "Rhythmic motion in selected chorale preludes from J. S. Bach's "Orgelbuechlein"." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/9092.

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This thesis investigates rhythmic motion in-selected chorale preludes from J. S. Bach's Orgelbuchlein collection. It examines how layers of motion, produced from the contrapuntal layering of voices, interact within each selected chorale prelude. It shows how layers of motion either align and produce synchronous rhythmic motion or misalign and produce non-synchronous rhythmic motion. In particular, this thesis investigates how alternations between synchronous and non-synchronous layers of motion correspond to and articulate both phrase form and tonal structure in these works.

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VanGilder, Chris R. "An examination of works for wind band: They led my Lord away arranged by Fred J. Allen, English folk song suite by Ralph Vaughan Williams, Variation overture by Clifton Williams, Dance of the rose maidens by Aram Khachaturian, arranged by James Truscello, Prelude and rondo by David R. Holsinger, And valdres marsj by Johannes Hanssen, arranged by Loras J. Schissel." Kansas State University, 2007. http://hdl.handle.net/2097/360.

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Master of Music Department of Music Frank C. Tracz The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Chris R. VanGilder. The recital, performed by the Arkansas City High School Concert Band, was given in two parts at the Arkansas City High School Auditorium. Part one, presenting the two pieces They Led My Lord Away as arranged by Fred J. Allen and English Folk Song Suite by Ralph Vaughan Williams was given on April 12th, 2007 at 7:00pm. Part two, presenting the four pieces Variation Overture by Clifton Williams, Dance of the Rose Maidens as arranged by James Truscello, Prelude and Rondo by David Holsinger and Valdres Marsj as arranged by Loras J. Schissel was given on May 15th, 2007 at 7:00pm. The document contains theoretical and historical analysis, and outlines the procedures of planning and performing the graduate conducting recital.

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Swanevelder, J. de Ville. "'n Analitiese ondersoek van sewe van Sergei Rachmaninof se Preludes, opp. 23 en 32." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/15430.

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Bibliography: leaves 68-70. Ten spyte van toenemende belangstelling in die solo-klavierwerke van Sergei Rachmaninof, is daar nog steeds beperkte studies vir die bestudering daarvan beskikbaar. Die doel van hierdie studie is die ontleding van 'n aantal aspekte wat 'n invloed op die bestudering en uitvoering van sewe van Rachmaninof se Preludes,.Opp. 23 en 32, het. In die studie word die historiese gebeure rondom sy lewe bespreek, wat dien as agtergrond tot die komposissie van Rachmaninof se Preludes. Die bespreking oor die klawerbordprelude verwys na die onstaan van klawerbordpreludes, die preludes uit Das Wohltemperierte Clavier van J. S. Bach, en volg dan die ontwikkeling van diengenre met die Preludes van Chopin en Rachmaninof. Sodoende word Rachmaninof se Preludes binne perspektief tot die ontwikkeling van die genre geplaas. In die laaste hoofstuk word 'n styl-tegniese ontleding van die sewe preludes van Rachmaninof gedoen, met verwysing na musikale inhoud en uitvoeringsprobleme. Ten slotte word gevolgtrekkings ten opsigte van die bespreekte werk gemaak.

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Hsieh, Chia-ling. "An Analytical Study of York Bowen’s Twenty-four Preludes in All Major and Minor Keys, Op. 102." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276527870.

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Lim, Seong-Ae. "The influence of Chopin in Piano music on the twenty-four preludes for Piano, Opus 11 of Alexander Scriabin." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298988346.

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Alsaif, Sanaa. "William Sterndale Bennett's preludes & lessons Op. 33 : a practical study and a critical edition." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/370188/.

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William Sterndale Bennett (1816 –75), made a significant contribution to music education in Britain during the Victorian age. His special interest in pedagogy, particularly teaching the pianoforte led him to compose a set of Preludes & Lessons for the female pupils at Queen’s College, London. The set was well received until the end of the nineteenth century, but has since fallen out of the public eye – like so many of Bennett’s works. The aim of this project is to clarify the use of Op. 33 by showing how the pieces treat important aspects of performance practice. Another aim is to bring back the set of Op. 33 to the present after a period of neglect by providing a critical edition of the pieces. A historical background is provided in order to demonstrate Bennett’s place in the field of pianoforte teaching at the time. This section deals with his career as an educator and his experience at Queen’s College, and includes a preface on teaching pianoforte in the Victorian age. The historical background is followed by a close study of Op. 33 to demonstrate their treatment of the major aspects of performance practice. All these elements are placed in chapter I, which is in the first volume of this project. Chapter II concentrates on the publication of the work in prepare for creating the edition. The publication history of Op. 33, its publishers and the textual problems in the set, are considered. Moreover, the problematic cases of Mendelssohn’s manuscripts and Chopin’s first editions are discussed and adopted as models for the preparation of the edition which forms the outcome of this project. This chapter also lies in the first volume. The second volume includes Chapter III, which considers a critical edition of Op. 33. It starts with a short introduction which provides major principles to be followed in the edition, then deals with the edition sources and their evaluation. This is followed by the musical text and the critical commentary.

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Heunis, Sulani. "Die liturgiese gebruik van die orrel in 'n post-mordene era: persepsies van kerkmusici en leraars van die Nederduitse Gereformeerde gemeentes in Port Elizabeth." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/787.

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In this study the liturgical usage of the organ is investigated within a post-modern society. It focuses specifically on the church services of the Dutch Reformed Congregations of Port Elizabeth with regards to the functionality of the organ during morning and evening services. The objectives of the study are to demonstrate the current situation of musical worship in the Dutch Reformed Congregations of Port Elizabeth. Furthermore it serves as a way to indicate any deficiency in the field, which would need to be addressed. In order to achieve these objectives, both a qualitative and quantitative study is undertaken. The qualitative study investigates existing literature regarding the church service and its music. The quantitative study comprises an analysis of self-administered questionnaires that was handed over for completion by the Dutch Reformed Congregations of Port Elizabeth. The results obtained were electronically processed to percentages and graphic illustrations. In this mini-treatise it is argued that the usage of other music instruments (in the form of music worship groups) during church services could possibly lead to a change in the liturgical function of the organ. It was found that the usage of the organ in the Dutch Reformed Congregations of Port Elizabeth was mainly retained during morning services. During evening services however, the usage of other music instruments was in the majority, which resulted in a decrease of organ usage. It was further discovered that a large group of organists are not involved with music worship groups. Training of organists in a contemporary style of music worship will therefore serve as a significant purpose to fulfil this deficiency.

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Mendez, Meily J. "Polystylism and Motivic Connections in Lera Auerbach's 24 Preludes for Piano, op. 41." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/612610.

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Russian-born American composer, Lera Auerbach (b. 1973), is a pianist and composer with a growing reputation. She has written nearly a dozen works for solo piano in addition to ballets, operas, chamber works, and other solo instrumentations. Her solo piano work 24 Preludes for Piano, op. 41 (1998) is the first of three prelude sets she has written; op. 41 is scored for solo piano, op. 46 is composed for violin and piano, and op. 47 is written for cello and piano. Throughout her works, Auerbach's compositional language is intuitively polystylistic, tonally centered, and couched in traditional forms. In her 24 Preludes for Piano, op. 41, Auerbach creates a polystylistic and motivically cohesive large-scale work of the individual preludes. In this document, three aspects of the 24 Preludes for Piano, op. 41 are discussed in two parts: form, most significant polystylistic influences, and most prominent motivic connections. The first part of the document investigates two aspects: the form of each prelude and several polystylistic influences. Auerbach uses form to give each short prelude structure; ABA and Arch forms are most often used. Each of the preludes demonstrates different polystylistic elements; she refers to various genres such as the ricercar and chorale prelude as well as various techniques including stretto and additive rhythms. Additionally, Auerbach pays polystylistic homage to different composers including Bartók, Debussy, Mussorgsky, Purcell, Ravel and others. The second part of the document demonstrates several of the underlying motivic connections that unify the collection. The cohesion is created through self-referencing motivic connections that are best heard when the set of twenty-four is performed in its entirety. Auerbach's series of polystylistic miniatures is also an organically unified large-scale work.

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Yoo, Jin Ah. "J.S. Bach's great eighteen chorale preludes arranged according to difficulty." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1813.

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Johann Sebastian Bach used his own organ compositions when teaching his students. Seeking to understand and learn from Bach's organ pedagogy, many scholars have sought to establish a list of Bach's organ works according to difficulty. These arranged lists are briefly summarized in chapter two of the present thesis, and it is shown that none of them have sufficiently explained the rationale for deciding difficulty. Chapter three establishes and describes criteria according to which Bach's organ works can be analyzed. Chapter four demonstrates how these criteria are to be applied within a selected corpus of J.S. Bach's organ works, the Leipzig versions of the Great Eighteen Chorale Preludes. The criteria and resulting arrangement according to difficulty answer a problem within Bach scholarship by providing an objective standard by which teachers and students can select level-appropriate works for purposes of learning and performance.

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46

Murphy, Liesel. "A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1023.

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This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.

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Iyescas, Kenneth Javier. "DUENDE: FOUR PRELUDES FOR SYMPHONIC WIND ENSEMBLE BY LUIS SERRANO ALARCÓN: CONDUCTOR’S GUIDE, SPANISH HISTORICAL BACKGROUND AND INFLUENCE." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/92.

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Luis Serrano Alarcón is one of the most important and relevant composers of our time. He is sought after as a composer, lecturer, and conductor throughout the world. His works have been performed in over 30 countries worldwide by some of the leading musical ensembles in the United States, Europe, and Asia, as well as being highly decorated by winning many prestigious composition contests including the International Band Competition Contest of Corciano, Italy. Born in Valencia, Spain, Alarcón is relatively self-taught in composition, which is a testament to his natural-born gift for composition. His compositional output ranges from the traditional Spanish pasodoble to chamber music, solo pieces, and sophisticated masterpieces for orchestra and wind ensemble. His work Duende: Four Preludes for Symphonic Wind Ensemble was commissioned by the University of St. Thomas Wind Ensemble, Minnesota (USA) in 2010. From its premiere, it became an extremely popular piece among wind band conductors. Duende’s appeal can be attributed to its fusion of Spanish popular music, the symphonic energy of Manuel de Falla’s scores, Iberia by the Spanish composer Isaac Albeniz, and the presence of jazz and Latin music. A detailed conductor’s guide will be provided in this document that includes but not limited to an analysis of form and structure for each movement, conducting considerations, and rehearsal suggestions and techniques. Last but not least, an in-depth exploration into the composer’s background, Spanish musical influences, and the Spanish Band movement and traditions has been conducted. Through this process, an uncovering of intriguing and relevant points of interest have come to the surface. Alarcón’s music sounds the way it does and appeals to the masses because of the juxtaposition of its infectious, Spanish musical elements, as well as its traditional symphonic music components. Moreover, the long and historical past, culture, and traditions of Spanish Bands creates an enormous influence and motivation to compose for the wind band genre. More than two-thirds of all municipalities in Valencia, Spain have musical societies that serve as sponsors for the bands and other ensembles, provide music education, and function as a social center to the townspeople. They are also supported by the Valencian Federation of Musical Societies, all branches of government, the business community, and the media. The musical ensembles participate in both non-competitive and competitive performance activities. Non-competitive performances include concerts, wind band festivals, honor bands, and massed bands. Wind band competitions are sponsored at the municipal, provincial, regional, and international levels. Many of these performance types are combined for special celebrations like patron saint holidays, including Las Fallas and Moros y Cristianos.

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Rode, James A. "Sensory understanding if the piano preludes of Claude Debussy." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/341.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information. Bachelors Arts and Sciences Music

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FLEURY, W. LEIGH. "MOTIVIC STRUCTURE IN THE CHORALE-BASED ORGAN WORKS OF SIR CHARLES HUBERT PARRY: AN ANALYTICAL SURVEY." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1177425004.

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Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1989. Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.

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Dissertations / Theses on the topic 'Prelude (Music)'

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