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Dissertations / Theses on the topic 'Prokofiev'

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Published: 4 June 2021
Last updated: 25 February 2023

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1

Howell, Chelsea Gayle. "Multidisciplinary performance issues in Sergei Prokofiev's Trapèze." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459902831&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

ZHU, DI. "PROKOFIEV'S PIANO TRANSCRIPTIONS: A COMPARATIVE STUDY OF HIS TRANSCRIBING TECHNIQUES." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153173318.

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3

Nataša, Crnjanski. "Prokofjev i muzički gest – klavirske sonate." Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2014. http://www.cris.uns.ac.rs/record.jsf?recordId=84602&source=NDLTD&language=en.

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Cilj disertacije je da se korišćenjem teorije o
muzičkom gestu - na sonatama kao
reprezentativnom uzorku u kome je gest osnova
izgradnje muzičkog značenja, generator
kompozicione forme i strukture, ali i determinišući
faktor analize koji obezbeđuje razumevanje stila i
stilskih promena - potvrdi upotreba muzičkog gesta
kao elementa naratologije muzičkog toka u muzici
Prokofjeva. Šire gledano, primena teorije o
muzičkom gestu na istraživanje klavirskih sonata
Sergeja Prokofjeva potvrdiće njenu univerzalnu
profilisanost i primenjivost u analitičkim tumačenjima
muzike 20. veka, te proširiti dosadašnju praksu da se
ova teorija isključivo vezuje za muziku 18. i 19. veka.
Svojevrsni analitički izazov predstavljaće primena
ove teorije na muzički tok koji povremeno izlazi iz
okvira tonalnog jezika (u kom je muzički gest
originalno utemeljen) čime se proširuje polje njene
primene, ali i ukazuje na najproduktivniji aspekt
današnje muzičke semiotike - istraživanje relacije
muzika-telo.

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4

Bogart, Steven. "Rhapsody." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/td/3.

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5

Orlov, Vladimir Sergeevich. "Soviet cantatas and oratorios by Sergei Prokofiev in their social and cultural context." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609314.

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6

Jones, Kathryn E. "Prokofiev Beckons the Double Bass Into the Modern Age: a Pedagogical Study of the Op 39 Quintet." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699907/.

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Until Serge Prokofiev’s 1924 ballet score Trapèze, the double bass occupied a background or at best a doubling role in almost all composers’ use of the instrument. Technical challenge was limited in these pieces, because composers did not see the instrument’s potential in a chamber music environment. As luthiers developed the instrument, the technical ability of players grew, and composers began writing more challenging music for the instrument. As one of the first major composers to see the double bass in a new light, Prokofiev wrote challenging music for the instrument. This paper illuminates the alluring pedagogical aspects of Prokofiev's Quintet in G Minor, Op. 39 and provides recommendations for accomplishing some difficult passages with ease.
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7

Wilson, Deborah Annette. "Prokofiev’s Romeo and Juliet: history of a compromise." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1061231843.

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8

Kim, Sooyoung. "Perspectives on the Symbiosis of Traditional and Modernist Techniques in Four Violin Compositions by Sergei Prokofiev." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918892.

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9

Sologub, Olga. "Sergei Prokofiev's Piano Sonata No. 8, Op. 84 and Symphony No. 5, Op. 100 : Neo-Riemannian and Kholopovian perspectives." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/sergei-prokofievs-piano-sonata-no-8-op-84-and-symphony-no-5-op-100-neoriemannian-and-kholopovian-perspectives(1e3b29e4-2086-4f12-bd5b-ea02635bbccd).html.

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Sergei Prokofiev is among the ranks of early-twentieth century composers whose music endures in the concert hall and whose life has attracted much musicological research. Fewer studies, however, have undertaken an analytical investigation into his music, and the body of scholarly work on the musical theoretical issues raised by his compositions does not rival that exploring the music of such major contemporaries as Igor Stravinsky and Béla Bartók. Existing Anglo-American contributions to the field of Prokofiev theory have mostly employed the tools of common-practice musical analysis, many of them using Schenkerian methods, with the more recent accounts of Richard Bass and Deborah Rifkin expanding these to incorporate the chromatic features of Prokofiev’s music in more sophisticated ways. A notable exception is Neil Minturn, who proposes an analytical approach informed by pitch-class set theory; his methodology, however, has not been developed in any further research. This thesis aims to make a contribution to Prokofiev analysis by applying recent developments in neo-Riemannian theories and the work of the noted Russian musicologist, Yuri Kholopov, whose early monograph on Prokofiev’s harmony has not been engaged with in English language accounts to date. Neo-Riemannian theories are well suited to this task due to the correspondence between their remit and the diatonic chromatic aspect of Prokofiev’s music. This thesis also introduces and explores the potential of Kholopov’s theoretical concepts regarding the nature of twentieth-century music, and in particular processes such as polyharmony, in original analytical applications. Prokofiev’s Symphony No. 5 and Piano Sonata No. 8 have been selected as focal works as they are acknowledged masterworks on an ambitious scale and arguably represent a shift in Prokofiev’s compositional thinking towards more abstract music in his later period. Existing analyses of extracts from these two works also offer the opportunity of making comparative observations. By focusing on harmony and large scale tonal design in these two works, this thesis hopes to demonstrate that a dialogue between the theoretical perspectives of Kholopov and those of neo-Riemannian theories may contribute valuable insights into Prokofiev’s music, at both surface and deep structural levels.
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10

Moron, Nicolas. "Une incantation mise en musique : édition critique de "Sept, ils sont sept" de Serge Prokofiev." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2003.

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La partition de "Sept, ils sont sept" pour ténor solo, chœur et orchestre ayant été imprimée en Russie en 1922 sans l'accord du compositeur, la question de l'authenticité du texte musical de cette œuvre, méconnue et néanmoins l'une les plus chères à Prokofiev, est fondamentale. L'origine de l'incantation mésopotamienne transcrite par le poète Constantin Balmont, à partir de laquelle Prokofiev rédigea le texte mis en musique, a pu être retracée en confrontant les ouvrages du poète aux écrits du compositeur. Des liens ignorés jusqu'à présent ont ainsi pu être tissés, et les rôles successifs joués par chacun dans la constitution du texte final clairement établis. Les recherches menées à la lumière documents inédits ont permis d'établir l'histoire de la genèse de cette œuvre et de comprendre dans quelles conditions la 1ère édition fut réalisée, à partir d'un manuscrit autographe récemment découvert. Ce sont également quatre traductions françaises réalisées en vue de la création qui ont été retrouvées, et dont l'étude comparée a permis d'établir le rôle primordial joué par Prokofiev dans ce processus. Lors de la réalisation de l'édition critique de cette partition, nous avons systématiquement confronté cinq manuscrits inédits, aux trois versions imprimées en 1922 et 1933, en tenant compte de leur histoire, de leur spécificité, et de leur mode de rédaction.En même temps qu'elle représente le premier travail d'édition critique mené sur une œuvre de Prokofiev, cette recherche s'inscrit dans la continuité des publications les plus récentes, afin d'offrir aux interprètes autant qu'aux musicologues une partition claire qui corresponde au mieux à la pensée musicale de Serge Prokofiev
As the score of "Seven, They Are Seven" for tenor solo, choir and orchestra has been printed in Russia in 1922 without the composer's consent, a basic question is to know whether the musical text of this work, neglected and yet one of Prokofiev's dearest, is authentic.The origin of the Mesopotamian incantation transcribed by the poet Constantin Balmont, from which Prokofiev drafted the text finally put in music, was recalled by comparing at once the works of Balmont to the composer's writings.Previously unknown connections could thus be weaved, and the successive roles played by each in the constitution of the final text were clearly established. Research conducted in light of unpublished documents made possible to trace the origins of this work and to understand the conditions in which the 1st edition had been made, from a recently discovered autograph manuscript.Also, four rediscovered French translations made for this work's creation confirmed in a comparative study the key role played by the composer in this process. By taking into account their history, their specificity, and how they were drawn up, we systematically compared, for the realization of the critical edition of this score, three complete manuscripts as well as a vocal score and an annotated edition completed by a manuscript, all unpublished, to the three versions printed in 1922 and 1933. Representing the first critical edition of a work by Prokofiev, this research fits in line with the most recent publications, in order to provide interpreters as well as musicologists a clear score which agrees, at best, to the musical thought of Sergey Prokofiev
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11

Hwang, Yun-Young. "Prokofiev piano sonatas no. 2, no. 5, and no. 8 : comparison and performance strategies /." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227222432.

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12

Erlanson, Ernst. "Varför spelar du som du gör? : En studie om relationen mellan interpretation och förklaringar." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-75429.

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I föreliggande studie undersöks relationen mellan ”förklaringar” och musikalisk interpretation. Mer specifikt frågan varför jag spelar Prokofievs 6:e pianosonat på ett visst sätt. Alla interpreter gör olika val vid förberedelsen och framförandet av ett musikaliskt verk. Många av de valen handlar om tempo, dynamik, frasering men även andra musikaliska parametrar. Denna studie undersöker till vilken grad sådana val går att basera på analytiska ”förklaringar” rörande musikens struktur. Med hjälp av teoretiska perspektiv från Leonard Meyer och Karl Popper undersöker jag ett antal passager som delvis blivit valda för att belysa hur varierat de brukar tolkas. Framförallt försöker studien att undersöka den ”tysta kunskapen” som ligger bakom specifika interpretationer — och i processen göra den kunskapen artikulerad. På grund av detta kan resultatet vara värdefullt både för teoretiker men också för praktiken inom intepretation. Projektet kulminerade i ett liveframförande av sonaten som spelades in. Det framförandet var influerat av min analys av musiken.
The present study investigates the relationship between “explanations” and musical interpretation. More specifically the question why do I play Prokofievs 6th piano sonata in a particular way? Every interpreter makes choices when preparing and performing a musical work. Many such choices involve tempo, dynamics, or phrasing, as well as other musical parameters. This study explores the degree to which these choices may be based on analytic “explanations" of the structure of the music. Building upon the theoretical work of Leonard Meyer and Karl Popper, I identify certain passages which highlight the diversity of interpretation, examining the differences through structural and interpretive analyses. Above all, the study seeks to understand the “tacit knowledge” embodied in certain approaches to musical interpretation — and, in the process, to make it explicit. Therefore, the results are of potential value not only in performance analysis, but in the training of performers. The project culminated in a performance and live recording of the sonata which were influenced by my analysis of the music.
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13

Liao, Chiann-Yi. "Trilogy-Prokofiev's War Sonatas : a study of pianism diagnosis and performance practice /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118237294.

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14

Brynolf, Max. "Uppförande av Prokofjevs åttonde pianosonat : En musikalisk analys med fokus på spelteknik och interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4042.

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In this study, Prokofiev’s Eighth piano sonata was analyzed based on interpretation and technique. Prokofiev lived in the communist Soviet Union, during the middle of the Second World War, and wrote music with a lot of collected experience. The purpose of the study was to illustrate important interpretational- and technical aspects that are required to perform the sonata, based on personal experience. To accomplish this, the piece was practiced for several months, while continuously taking notes of my personal reflections based on the practice sessions and recordings. The study shows that the interpretation should strive to clarify different motives as well as enhancing contrasting characters in the music, while technical difficulties in demanding parts of the sonata often are solved by putting emphasize on evenness, and by considering input from several senses in the practice room. The results are useful for studying other large compositions and remain a documentation of how such extensive piano music can be approached.
I studien analyserades Prokofjevs åttonde pianosonat utifrån interpretation och spelteknik. Prokofjev befann sig i kommunistiska Sovjetunionen, mitt under andra världskriget, och skrev musik med mycket samlad erfarenhet. Syftet med studien var att belysa viktiga interpretations- och teknikbaserade aspekter vid uppförandet av sonaten, baserat på egen beprövad erfarenhet. För att åstadkomma detta övades stycket in under flera månader, medan reflektioner skrevs ner baserat på övningspassen samt inspelningar. Studiens resultat påvisar att tolkning bör göra motiven så tydliga som möjligt samt lyfta fram olika karaktärer i musiken som styrker temat, medan tekniska svårigheter i krävande partier ofta löses genom att fokusera på jämnhet samt att öva med flera sinnen i fokus. Resultatet är användbart även vid instudering av andra omfattande verk och är en dokumentation på hur sådan omfattande pianomusik kan tas an.

S. Prokofjev - Sonat nr 8, op 84

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15

Morrison, Simon. "Sergei Prokofiev's Semyon Kotko as a representative example of socialist realism." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26048.

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Shortly after returning to Moscow in 1936, Prokofiev composed his first Soviet opera, Semyon Kotko (Opus 81). The libretto was taken from Valentin Kataev's novel I am a Son of the Working People, a tale of revolution and war in a small Ukrainian village and one that adheres to the tenets of Socialist Realism. Kataev encouraged Prokofiev to set this text in a highly conservative song style. Prokofiev was also influenced in the project by Vsevolod Meyerhold, an innovative artist who advocated using continuous declamation as a means of achieving "dramatic truth" in music.
This essay examines the extent to which Semyon Kotko can be considered a conformist opera. Part One is a survey of Socialist Realism and its manifestation in Soviet literature and music during the 1930's; Parts Two and Three examine the text and music of Semyon Kotko as representative of the doctrine. Consideration is given throughout the study to the opposing influences of Kataev and Meyerhold on Prokofiev, and to the political events surrounding the opera's composition.
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Kalichman, Joshua. "RICK." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1165870623.

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17

Liu, Tzu-Yi. "An Analytical Perspective of the Developing Aesthetic Concepts in Sergey Prokofiev's Choses en soi, Op. 45." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062899/.

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The purpose of this study is to analyze the compositional techniques in Choses en soi op.45, by Sergey Prokofiev, and to explore the new aesthetic concepts he claimed to include in this composition. Through the examination of the compositional elements and discussion of its salient characteristics.
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18

Cristão, Rui Pedro Mendes. "Sonata para violino e piano OP.94 bis de Sergey Prokofiev: história e análise comparativa com versão original." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/11792.

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Na realização do Mestrado em Música – Interpretação – Violino foi proposta a elaboração de um Trabalho de Projeto, no qual os alunos escolheriam o tema a abordar. O tema escolhido e que melhor define a opção para este trabalho é “Sonata para violino e piano op.94 bis de Sergey Prokofiev: história e análise comparativa com a versão original”. O seguinte trabalho centra-se na análise e comparação de duas sonatas: a sonata para flauta e piano e a sua transcrição para violino e piano, elaboradas pelo compositor russo, Sergey Prokofiev. Este documento inicia-se com um breve foco da vida e obra do compositor, seguido de uma contextualização das sonatas em análise. Esta sequência informativa permite conhecer e compreender o contexto familiar, social, cultural e político em que Prokofiev se encontrava aquando da elaboração destas obras. No capítulo destinado às duas sonatas fez-se uma análise e comparação pormenorizada do trabalho de transcrição, sendo apresentados excertos que permitam corroborar com todas as informações expostas. Por último, este Trabalho de Projeto termina com considerações finais e conclusões da análise previamente apresentada; ### Abstract: On completion of a Master´s Degree in Music - Interpretation – Violin, students where proposed to do a Project Work, in which they could choose the topic, The theme chosen that better defines the option for this work is "Sonata for violin and piano op.94 bis Sergey Prokofiev: history and comparative analysis with the original version." The following work is focused on analysis and comparison of two sonatas: the sonata for flute and piano and his transcription for violin and piano, made by the Russian composer Sergey Prokofiev. The document begins with a brief focus on the life and work of this composer, as well as the background of the sonatas in analysis. This information sequence allows to know and understand the familiar, social, political and cultural context in which Prokofiev was when he composed these works. In the chapter dedicated to the two sonatas, a detailed comparison was made and also a review of the transcription work, in which excerpts are given that allow the corroboration of all information exposed. Finally, this Project Work ends with final remarks and conclusions about the analysis presented previously.
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19

Guillaumier, Christina. "From piano to stage : a genealogy of musical ideas in the piano works of Sergei Prokofiev (1900-c.1920)." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/6451.

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This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first chapter is concerned with Prokofiev's juvenilia (1898 to c. 1906). Drawing upon a large amount of previously unpublished archival resources, this chapter uncovers the original gestures and thematic ideas which characterize Prokofiev's early style. The next chapter focuses on Prokofiev's period at the St Petersburg Conservatory, tracing his development into a virtuoso pianist, examining the nature of that virtuosity and chronicling the creation of Prokofiev's performing persona. The gestures and idea- types identified in the first chapter are then examined within the context of Prokofiev's works for solo piano, his early works with orchestra and his first two major operas. Conclusions are then drawn about the nature of Prokofiev's distinctiveness, his compositional legacy and about his current position as a major twentieth-century composer.
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Petchenina, Ludmila. "Une expérience de mise en musique de la prose à travers les deux versions du "Joueur" de Serge Prokofiev." Paris 4, 2006. http://www.theses.fr/2006PA040127.

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La mise en musique des textes en prose devient une pratique courante dans le répertoire vocal du début du XXe siècle. Orienté sur le modèle d’un opéra dit « littéraire », Prokofiev a l’ambition de créer un drame musical moderne. Depuis les années 1910 il adopte une méthode originale fondée essentiellement sur le traitement musical des textes de sa plume élaborés à partir des sources littéraires en prose narrative. Ce choix suscite une question légitime portant sur le caractère de la dimension musicale de son œuvre lyrique dont la spécificité est déterminée par la présence d’un matériau qui, contrairement aux textes versifiés, est émancipé au plan rythmique et irrégulier au plan structurel. Le premier projet majeur de Prokofiev conçu pour le théâtre, Le Joueur est la première adaptation musicale d’un ouvrage de Dostoïevski au XXe siècle qui redécouvre la grandeur de cet écrivain. Le roman de Dostoïevski et les deux versions du livret rédigé par Prokofiev sont examinés à la lumière de la transtextualité, afin de définir la nature du texte de la source littéraire, ainsi que son caractère composite acquis après sa transformation, effectuée par le compositeur dans l’opéra. Cette analyse s’inspire des travaux de Gérard Genette portant sur la littérature au second degré. La suite logique de cette recherche se situe dans la restitution du processus d’agencement du texte de Dostoïevski par le compositeur-librettiste visant son adaptation aux normes d’un livret d’opéra et à la dramaturgie musicale de l’œuvre projetée. La méthode comparative, que l’on applique à deux versions musicale du Joueur met en évidence la spécificité de l‘écriture de Prokofiev et son évolution stylistique, afin de traiter l’interaction entre l’élément verbal et l’élément musical au plan rythmique, structurel et intonatif. La thèse s’achève sur la définition de la nature translinguistique des rapports qui se créent dans une œuvre vocale entre les deux éléments, textuel et musical. Notre recherche soulève également la question de l’étude systématique du traitement musical de la prose dans la musique vocale du XXe siècle
The musical setting of prose texts becomes a current practice in the early-20th-century vocal repertory. On the model of the so called “literary” opera, Prokofiev aims at creating a modern musical drama. Since the 1910’s, he chooses an original method based on the musical setting of his own texts, elaborated from literary sources in narrative prose. This raises a legitimate interrogation on the musical dimension of his lyric work, characterized by the presence of a material that, unlike versified texts, is both rhythmically emancipated and structurally irregular. Prokofiev’s first major project for the theater, The Gambler is the first 20th-century musical setting of a work by Dostoyevsky, of whom the importance was being rediscovered. Dostoyevsky’s novel and the two versions of Prokofiev’s libretto are examined from the point of view of transtextuality, in an attempt to define the nature of the literary source and its composite character after the transformation by the composer in the opera. This analysis is inspired by Gérard Genette’s work on secondary literature. The logically following step of the research is the restitution of the process of elaboration of Dostoyevsky’s text by the composer-librettist aiming at adapting it to the norms of a libretto and to the musical dramaturgy of the planned work. The comparative method applied to two musical versions of The Gambler enlightens the specificity of Prokofiev’s writing and his stylistic evolution, in order to study the interaction of the verbal and musical elements from the points of view of rhythm, structure and intonation. The thesis concludes on a definition of the translinguistic nature of the relationship created in a vocal work between the two elements, textual and musical. The research raises the question of the systematic study of the musical treatment of prose in 20th-century vocal music
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Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.

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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to evaluate his essential self-characterization shift in his compositional style, the so-called "five lines."
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22

Roth, Emily Renee. "An examination of major works for concert band and chamber ensembles: Down a Country Lane by Aaron Copland, Two Pieces from Lieutenant Kije by Sergei Prokofiev, and Suite in B-flat by Richard Strauss." Kansas State University, 2015. http://hdl.handle.net/2097/19089.

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Master of Music
Department of Music, Theatre, and Dance
Frank C. Tracz
The following report is a detailed analysis on the following three pieces: Suite in B-flat by Richard Strauss for woodwind chamber ensemble, Two Pieces from Lieutenant Kije by Sergei Prokofiev for brass and percussion ensemble, and a finally Down a Country Lane by Aaron Copland for concert band. The goal of the analysis is to provide rehearsal information for educational purposes. Aspects of the compositions studied include: background information on the composer and composition, a historical perspective, technical and stylistic considerations, and the musical elements. The researchers perspective on philosophy of music education is also stated as well as the importance of choosing quality literature for pedagogical needs and performance. The goal of this report is to aid future conductors in their performances of the literature and for that reason the seating charts for the ensembles, acoustical justifications, as well as rehearsal plans have been included.
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Liu, Wenjing. "Prokofiev's Tales of old grandmother, Op. 31: a performance and pedagogical guide." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3132.

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Tales of Old Grandmother, Op. 31 by Prokofiev is based on a fairy tale theme. It can be considered as both a most valuable pedagogical piece for young students and as a piece for the concert repertoire. However, this piece was under-appreciated by most piano performers and piano pedagogues for many years, even though it was praised by several well-known composers and was often played by other pianists and Prokofiev himself. The main aim of this study is to promote the Tales so that they will be performed and taught more often. All of the complex harmonic language, unique unforgettable lyricism and Prokofiev's typical compositional elements are presented in this score, allowing it to serve as a great concert repertoire choice. At the same time, the simple format setting, less demanding technique and the fairy tale theme can easily catch and hold a children's interest. Therefore, Tales of Old Grandmother contains both performance value and pedagogical value. This premise is achieved through a discussion of Prokofiev's unfailing interest in fairy tales and comparisons between Tales of Old Grandmother with Prokofiev's advanced piano works and with his Music for Children, Op. 65. Lastly, a performance guide is given suggesting different performance interpretations, various practice strategies and several efficient teaching methods regarding the Tales of Old Grandmother, Op. 31.
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Hutchinson, Paula C. "Structure and Style in Three Flute Works of John La Montaine : With Three Recitals of Selected Works by Bach, Prokofiev, Messiaen, Reinecke, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277868/.

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This comprehensive study specifically includes: a brief biography of La Montaine, background surrounding the composition of the three works, a thorough analysis of each work, and a style comparison of the three pieces. Materials in the appendixes are: an annotated list of La Montaine's flute compositions; the text of the song cycle Fragments; an interview with John La Montaine; and an interview with Doriot Anthony Dwyer, to whom Come into My Garden and My Beloved, Let Us Go Forth are dedicated.
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25

Dogaru, Gabriela. "À la mémoire de Serge Prokofieff : Francis Poulencs oboesonat jämförd med utdrag ur Prokofjevs musik." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3967.

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À la mémoire de Serge Prokofieff står högst upp på första sidan av Oboesonaten, FP 185 av Francis Poulenc. Stycket komponerades år 1962 och är Poulencs sista komposition, som han aldrig har fått möjligheten att höra innan han dog samma år. Under åren har Poulenc tillägnat sina verk till många vänner och bekanta. Sitt sista verk tillägnar han sin vän som han beundrar väldigt mycket, dvs. Prokofjev. Detta är en vinkel som jag länge har velat fördjupa mig i. Under studieåren har många lärare dragit kopplingar mellan oboesonaten och vissa verk av Prokofjev, som t.ex. baletten Romeo och Julia. Så jag har valt undersöka ämnet och se om det finns tydliga influenser av Prokofjevs musik i oboesonaten samt också att klargöra om huruvida stycket är karaktäristiskt för Poulencs stil som kommer från en fransk musiktradition. För att utöka mina kunskaper och för att bilda en större kontext om båda kompositörerna, har jag börjat med att läsa biografier om dessa. Även en utförlig analys av oboesonaten har genomförts. Genom att lyssna på verk av båda tonsättarna samt genom att titta i partitur har jag kunnat ta ut vissa ställen som kunde jämföras för att hjälpa mig vidare i min undersökning. Dessa ställen har jag lagt sida vid sida för en mer detaljerad analys och jämförelse. Jag upptäckte att det fanns en del likheter mellan oboesonaten och Prokofjevs musik, däremot mycket fler likheter mellan oboesonaten och andra verk av Poulenc. Det finns många närvarande kompositionsdrag som berättar att stycket är mycket karaktäristiskt för Poulencs sätt att skriva musik. Dock kan man också se en del kompositionsegenskaper som föredras av Prokofjev. Min slutsats är att det finns influenser av Prokofjev, men också att oboesonaten är Poulencs egen tillbakablick till ett rikt och händelsefullt liv samt en medryckande karriär. Att kunna känna igen dessa referenser till Prokofjev och till Poulencs tidigare musik bidrar till att man som musiker kan skapa en mer utförlig interpretation av stycket. Att förmedla kompositörens tankar är en stor del av en musikers jobb. Därför anser jag att det är viktigt att tolkningen av ett stycke stämmer överens i så stor utsträckning som möjligt med tonsättarens idéer.

F Poulenc: Oboesonat, FP 185

Medverkande:

Gabriela Dogaru - oboe

Katarina Ström-Harg - piano

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Neto, Maira Urbano. "Estudo comparativo entre edições da sonata OP.94 para flauta e piano de Sergei Prokofiev: subsídios para a escolha da edição e interpretação da peça." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/AAGS-7ZWMYH.

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Sergei Prokofiev's Sonata OP. 94, originally written for flute and piano, has been transcribed by the composer for violin and piano, soon after its premiere. The transcription had a strong influence over the subsequent editions of flute sonata. This article presents a comparative analysis of several editions of Sonata ( both for flute and piano and for violin and piano) in order to demonstrate and describe the differences and similarities between editions, as well as offer resources for well-infored choices regarding the edition and interpretations of this piece - a work of such relevance for the of twentieth century's transverse flute repertoire.
A Sonata OP. 94 de Sergei Prokofiev, originalmente para flauta e piano, foi transcrita pelo compositor para violino e piano pouco tempo depois após sua estréia, provocando forte influência nas edições futuras para flauta. Este artigo faz um estudo comparativo entre diversas edições dessa Sonata (para flauta e piano, e violino e piano), com o intuito de demonstrar e descrever as diferenças e semelhanças entre edições, bem como a possibilidades de fornecer subsídios à escolha de edição e interpretação dessa relevante obra do repertório de século XX para flauta transversal.
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Couch, Roy L. "Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky's The Rite of Spring, Dmitri Shostakovich's Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev's Symphony No. 5 in B flat major, Op. 100." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/couch%5Froy%5Flee/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 25, 2001, Nov. 18, 2002, Mar. 21, 2005, and Feb. 20, 2006. Includes bibliographical references (p. 44-48).
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Tseng, Li-Han Eliza. "Sergey Prokofiev’s Complete Solo Cello Repertory: The Compositional History and Performance Guide." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554213587575424.

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Webb, Timothy. "Part I The Samson Suite for Chamber Orchestra. Part II The Provocative Prokofiev: Analysis of Moderato Movement Sonata for Flute and Piano in D Major, Opus 94." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1280337287.

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30

Saunders, David Harold. "Capriccio, By Richard Strauss and Clemens Krauss: Theoretical Discussion as Theatrical Presentation, Together with Three Recitals of Selected Works of Strauss, Wagner, Verdi, Mozart, Britten, and Prokofiev." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331935/.

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In Capriccio. Richard Strauss and Clemens Krauss examine the very nature of opera with the core of their thesis being the relationship of words and music. A work that is, in essence, an extended discussion poses two problems to the composer and librettist: how to sustain the argument of the thesis without losing the attention of the audience, and how to prevent a conversational opera from sounding like endless recitative. Strauss and Krauss manage to present their case without having to resort to an actual discussion for the duration of the opera. Their characters are engaging, identifiable human beings who are also allegorical figures. Their participation in the stage action sustains the argument of the thesis even when the dialogue itself addresses other subjects. The players symbolize various facets of opera, theatre, and the public with all of them, principal and secondary characters, being sharply etched. The little stage action that Capriccio does contain is carefully paced and closely coordinated with the presentation of the work's thesis. The octets, similar in dramatic function to the central finale of a Mozart opera buffa, provide the climax of the stage action and come soon after the Fugal Debate, the centerpiece of the collaborators' argument. The final section of the central scene, which also contains the aforementioned octets and Fugal Debate, serves as the denouement of both the plot and thesis. Such close attention to dramatic structure gives Capriccio and the argument it presents cohesion and dramatic shape. The text itself is written in clear, concise prose and is set in Strauss's patented "conversational style." This style, a rapid syllabic declamation, is delivered "mezza voce" in order to simulate natural speech and is sung over continuous melos in the orchestra. This accompaniment keeps it from sounding like dry recitative. This study explores the work's characters, dramatic structure, vocal style, and the issues raised by Strauss and Krauss. Other topics to be addressed include the genesis of Capriccio. how the careers of the composer and librettist led them to write an opera about opera, common criticisms of the work, and Capriccio's place in the operatic repertoire today.
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Green, James Matthew. "The History and Usage of the Tuba in Russia." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449095115.

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Johansen, Ken. "Gabriel Fauré and the art of ambiguity : an examination of his late style through selected piano works, with three recitals of selected works by Bach, Beethoven, Chopin, Prokofiev, Franck, Liszt and Schubert /." Denton : Tex. : K. Johansen, 1995. http://catalogue.bnf.fr/ark:/12148/cb39138962c.

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33

Ožana, Petr. "Sergej Prokofjev (klavírní dílo)." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177788.

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The base of this work is analysis of Prokofiev´s piano compositions. It isn´t a scientific work. It´s rather analysis of form, melody and harmony in context with his others piano works. At chapter about surroundings dislocation generation of piano concertos I am based on the author´s testation a with him I try to find his ideas right in this work. Also I introduce the poem wich is inspired by the conceptus of this work, was written by poet Balmont. At the last chapter I tout about a view on Prokofiev like friend pianist, colleague, composer by the eyes his contemporaries both his students and teachers, colleagues, pianist, friends but aswell his enemy. TZhe greatest personalities like Neuhaus, Rostropovich, Oistrach remember him. Life´s facts I touch very too little with regard to quantity indeed more far specialist literature.
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34

Assay, Eshghpour Michelle. "Hamlet in the Stalin Era and Beyond : Stage and Score." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040020.

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Hamlet a longtemps été une partie inséparable de l'identité nationale russe. Cependant, les mises en scène d’Hamlet en Union soviétique (surtout en Russie) durant l'époque de Staline présentèrent des problèmes spécifiques liés aux doctrines idéologiques imposées sur les arts et la culture en général ainsi qu’aux idées reçues concernant l’opinion personnelle de Staline envers de la tragédie. Les deux mises en scènes principales d’Hamlet en Russie au cours de cette période ont été celles réalisées par Nikolai Akimov (1932) et Sergei Radlov (1938). Un réexamen approfondi de ces mises en scène, entrepris dans les chapitres centraux de cette thèse, révèle des détails précédemment inconnus au sujet de leurs conceptions, réalisations, réceptions et au-delà. Cela met en évidence l'importance du rôle de la musique de scène composée pour elles par Dimitri Chostakovitch et par Sergei Prokofiev, respectivement, et suggère l'interaction complexe des agendas individuels et institutionnels. Ce travail a été rendu possible grâce à de nombreuses visites aux archives russes, qui contiennent de précieux documents tels que des livrets des mises en scène et les rapports sténographiques de discussions, précédemment non référencées à l'Ouest. Ces chapitres centraux sont précédés d'un aperçu historique d’Hamlet en Russie et de la musique et de Shakespeare en général. Ils sont suivis par une enquête au sujet des adaptations notables d’Hamlet à la fin de l’époque de Staline et après la mort du dictateur, se concentrant sur ceux qui contiennent les contributions musicales les plus importantes. Le résultat est un aperçu plus riche et plus complexe de l'image familière d’Hamlet comme miroir de la société russe / soviétique
Hamlet has long been an inseparable part of Russian national identity. Staging Hamlet in Russia during the Stalin era, however, presented particular problems connected with the ideological framework imposed on the arts and culture as well as with Stalin’s own negative perceived view of the tragedy. The two major productions of Hamlet in Russia during this period were those directed by Nikolai Akimov (1932) and Sergei Radlov (1938). Thorough re-examination of these productions, as undertaken in the central chapters of this dissertation, reveals much previously unknown detail about their conception, realisation, reception and afterlife. It highlights the importance of the role of music composed for them by Dmitry Shostakovich and Sergei Prokofiev, respectively, and it suggests a complex interaction of individual and institutional agendas. This work has been made possible by numerous visits to Russian archives, which contain invaluable documents such as production books and stenographic reports of discussions, previously unreferenced in Western scholarship. These central chapters are preceded by a historical overview of Hamlet in Russia and of music and Shakespeare in general. They are followed by a survey of major adaptations of Hamlet in the late-Stalin era and beyond, concentrating on those with significant musical contributions. The outcome is a richer and more complex account of the familiar image of Hamlet as a mirror of Russian/Soviet society
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Kong, Won-Young. "Paul Wittgenstein's Transcriptions for Left Hand: Pianistic Techniques and Performance Problems : A Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, S. Prokofiev, F. Liszt, M. Ravel, and F. Chopin." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935633/.

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Paul Wittgenstein (1887-1961) made significant contributions to the piano literature for the left hand through numerous commissioned works as well as his own transcriptions. In the transcriptions, Wittgenstein preserved the texture of two-hand music, aiming for the simulation of the original works. This requires special techniques in the performance by the left hand alone. This dissertation investigations technical means and performance problems associated with the transcriptions as well as Wittgenstein's own recordings of selections from his works. Chapter 1 serves as an introduction, providing a historical overview of the role of the left hand in two-hand piano literature. Chapter 2 gives biological information on Paul Wittgenstein and discusses the commissioned works. Chapter 3 investigates special techniques in the transcriptions, in the areas of arpeggios, widespread chords, fingering, pedaling, and others. Chapter 4 discusses Wittgensteins's performance style based on his recordings. Chapter 5 presents a conclusion pointing to the benefits of performing left-hand music in two-hand piano playing.
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36

Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.

The exam concert is archived for copyright reasons until 2023.

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37

Kovacevic, Stefan. "Prokofievs Sjunde Pianosonat "Stalingrad" : Analys av andra satsen och reflektion av Prokofievs sinne för form." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1640.

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Denna uppsats kretsar kring andra satsen ur Sergei Prokofievs berömda verk Piano Sonata 7, Op 83. Syftet är att utforska Prokofievs sinne för musikalisk form, samt att reflektera kring varför hans musik var banbrytande genom att studera stycket från ett nytt perspektiv. Jag har tidigare själv spelat hela sonaten och djupdyker nu mer teoretiskt i verket för att hitta nya infallsvinklar.

Bilaga: 1 CD

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38

Rosík, Alexej. "Sergej Prokofjev a jeho komorní tvorba." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79392.

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I was very interested in Sergej Prokofjev music when I had studied his Sonata for violin and piano D - major, op. 94.I make a short evalution of his life and publication in this work. In more details I decribe his chamber music work, Violin sonata D - major, op. 94 , orchestra and vocal pieces too. In conclusion I present the full list of his composition.
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Al-Ashhabová, Marie. "Klavírní koncerty S. Prokofjeva." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177889.

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This thesis focuses on the piano concertos by Sergei Prokofiev. It is aimed not only at the composer's works for piano and orchestra, but also at the life of this unique artist. It refers not only to the beauty and timelessness of these pieces, but also at the factors behing creating these piano concertos. The work is divided into five main chapters - each chapter includes a piano concerto. I add a brief biography of the composer for better orientation of the reader in a given topic at the beginning.
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40

Levický, Martin. "Sergej Prokofjev: Sonáty č.6, 7 a 8." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79089.

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This work deals with Prokofievs piano sonatas from the WW II period. The introduction explains my chice of this topic and describes my relation to Prokofjevs works in general. The first chapter is a brief biography of Prokofjev, that focuses on his piano works. The main part of this work is dedicated to the analysis of the sonatas No. 6, 7 and 8. These compositions are being studied from three perspectives: the listener´s, the composer´s and the performer´s. In conclusion, this work mentions a famous interpretation by Sviatoslav Richter.
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41

Yang, Shu-mei. "Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331819/.

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This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to utilize Western techniques to create artistic works and compositional styles which are uniquely Chinese. The musical works examined are limited to works for piano solo, as it is believed these are often more immediately revealing of compositional techniques and stylistic idioms.
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42

Ruttle, Mark. "Aspects of a Late Style in Sergei Rachmaninoff's Variations on a Theme of Corelli, Op. 42: a Lecture Recital, together with Three Recitals of Selected Works of J. Brahms, L. v. Beethoven, F. Chopin, C. Debussy, Zoltan Kodaly, M. Moussorgsky, and S. Prokofiev." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330593/.

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This document identifies elements of a stylistic change which occurred in several of the pieces Rachmaninoff wrote during the last years of his life. These elements reflect a progressive trend in his music, which certainly maintained in spite of the change, its characteristic sound. The Variations on a Theme of Corelli, Op. 42 illustrate these new developments in their lean, angular unison sonorities, stripped of chordal padding and virtuosic display, in their percussive, staccato and incisive ostinato rhythmic figures, astringent chromatic harmony and modern air of detachment. The Rhapsody on a Theme of Paganini, Op. 43 confirms this stylistic development in its remarkable similarity to the Corelli Variations. In the last twenty-six years of his life in exile from his homeland, making his way around the world as a concert pianist, Rachmaninoff wrote only six major works. Perhaps his increasing age, separation from homeland, and the musical revolutions surrounding him in the Western world produced this stylistic development.
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43

Poldjaeva, Jelena. "Bibliographie zu Leben und Werk von Sergei Prokofjew." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220814.

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44

Seinen, Nathan Christopher. "Prokofiev's Soviet operas : four essays." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283904.

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45

Benelli, Maria Giulia. "Proposta di traduzione: sei favole di Sof'ja Prokof'eva." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13747/.

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Questa tesi presenta la traduzione inedita di sei favole di autore di Sof'ja Prokof'eva e l'analisi degli elementi principali delle opere. Oltre alla discussione di problematiche relative alla traduzione, l'elaborato si pone l'obbiettivo di inquadrare l'autrice nel contesto della letteratura di infanzia sovietica degli anni 50-60 del 1900.
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46

Hsieh, Szu-Yun, and 謝斯韻. "Prokofiev Symphony no.1." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/sy3656.

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Yi-Fang, Liu, and 劉怡芳. "Prokofiev 《Visions Fugitives》 op.22." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/56364164991408674404.

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48

Yu, Hsin-Ying, and 余忻穎. "An Analysis of Prokofiev Violin Sonata Op.94." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/77249999746761274885.

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49

Stratkauskas, David Vincent Edwin. "Tonical ambiguity in three pieces by Sergei Prokofiev." Thesis, 1996. http://hdl.handle.net/2429/6071.

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There is much that is traditional in the compositional style of Sergei Prokofiev, invoking the stylistic spirit of the preceding two hundred years. One familiar element is the harmonic vocabulary, as evidenced by the frequent use of simple triadic sonorities, but these seemingly simple sonorities are frequently instilled with a sense of multiple meaning, and help to facilitate a tonal style which differs from the classical norm. In this style, the conditions of monotonality do not necessarily apply; there is often a sense of the coexistence of several "tonical" possibilities. An examination of three pieces shows varying applications of Prokofiev's ambiguous tonal style. In the Pensee, op. 62 no. 2, tonical ambiguity pervades the entire piece. In the "Promenade," op. 59 no. 1, an initial suggestion of monotonality leads to a state of multiple tonics. In the last movement of the Sonata for Violin and Piano, op. 80, areas of ambiguous tonal focus are, in a more traditional fashion, subservient to a strong overall tonic. Because Prokofiev does not employ a classical tonal style, traditional methods of analysis only provide a limited basis of understanding. In this thesis, Schoenberg's concepts of "fluctuating tonality," Peter Deane Roberts's ideas about "polymodality," and Richard Bass's "chromatic shadows" provide starting points for an examination of this music.
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E, Joukova Eugenia. "The songs and song cycles of Sergey Prokofiev (1930--1950) /." 2007. 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:3301158.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007.
Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0429. Adviser: William Kinderman. Includes bibliographical references (leaves 153-157) Available on microfilm from Pro Quest Information and Learning.
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