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Dissertations / Theses on the topic 'Rachmaninoff, Sergei, Music Piano'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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2

Maritz, Gerhardus Petrus. "Rachmaninoff, Horowitz, and the discursive arena between (re)composition and performance : the case of Rachmaninoff's Piano Sonata, opus 36." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020784.

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This treatise aims to uncover possible reasons as to why composers rework their compositions. In attempting to answer questions regarding musical and extra-musical (referential) criteria, surrounding conditions and the role performers play in acting as conduits of the aforementioned, the study focuses on three versions of Rachmaninoff’s second Piano Sonata, opus 36. The first of these was composed in 1913, the second constitutes the composer’s revision of this work in 1931, and the third, a subsequent amalgamation of both previously mentioned versions by pianist Horowitz in 1943. The research

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3

Kono, Yutaka. "Discussion of transcribing music for tuba and a transcription of Sergei Rachmaninoff's Sonata for cello and piano in G minor, op. 19 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075616.

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4

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

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5

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 wa

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6

Cheng, Ruby. "Rachmaninoff the composer-pianist aspects of pianism in his Piano concerto no. 3 in D minor /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512501&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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7

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

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

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8

Nordmark, Linus. ""Bra musik finns ju redan" : En processbeskrivning av hur man drar nytta av en annan tonsättares mästerverk." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64034.

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Det här arbetet är en processbeskrivning av hur jag komponerat pianostycket Preludium i Db-dur. Arbetet innefattar en omsorgsfull och omfattande djupdykning i musikaliska teman och utvalda motiviska element från ett preludium av Sergej Rachmaninov, Preludium nr. 4 i D-dur (op. 23, 1903). Valet att göra den här undersökningen grundar sig i ett brinnande intresse för den klassiska pianorepertoaren, såväl som en intensiv fascination över hur ett välkomponerat musikverk är uppbyggt. Som kompositör är det vissa frågor jag ställer mig nästan dagligen när jag lyssnar på musik som tilltalar mig: Varfö

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9

Radiushina, Marina. "A Performer's Perspective on the Technical Challenges and Interpretive Aspects of Sergei Rachmaninoff's Etudes-Tableaux Opus 39." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/202.

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The focus of this project is the performance of Sergei Rachmaninoff's Etudes-Tableaux Op. 39. The purpose is to provide interested performers with a clear understanding of the inner workings of these compositions and to address many problems of interpretation and technical challenges of the Etudes-Tableaux Op. 39. The author's goal is to offer creative interpretive explanations and technical solutions to the existing pianistic problems and to aid a performer in his/her approach to learning in order to create a credible and skillful performance. The study makes use of the multi-faceted opportu

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10

Kozlova, Yulia V. "Sources of inspiration in selected piano works by Sergei Slonimsky." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117574266.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xi, 103 p.; also includes graphics. Includes bibliographical references (p. 100-103). Available online via OhioLINK's ETD Center

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11

Michelson, Helena. "I. Music and poetic word : the romances of Sergei Rachmaninoff ; II. A journey metamorphosed for orchestra /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.

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12

Konoval, Michael Brandon. "Two piano recitals : solo and chamber music of Bartok, Brahms, Mozart and Rachmaninoff." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27375.

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13

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 u

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14

Kang, Heejung. "Rachmaninoff's Rhapsody on a Theme by Paganini, Op.43; Analysis and Discourse." Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/kang%5Fheejung/index.htm.

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15

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 cha

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16

Pisano, Paul W. "Ursatz, Grundgestalt, and Hyperdissonance: Post-Kuchkist Compound Syntax in Rachmaninoff Etudes-Tableaux, Op. 39, Nos. 1-3." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404385.

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17

Gehl, Robin S. "Reassessing a Legacy: Rachmaninoff in America, 1918 – 43." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1227105259.

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Thesis (Ph.D.)--University of Cincinnati, 2008.<br>Advisor: Bruce McClung PhD (Committee Chair), Jeongwon Joe PhD (Committee Member) , Robert Zierolf PhD (Committee Member). Title from electronic thesis title page (viewed Feb. 9, 2009). Keywords: Rachmaninoff; Steinway; Recordings; Piano performance; America; Twentieth Century; Reception. Includes abstract. Includes bibliographical references.

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18

Fitenko, Nikita. "Sonata for Piano (1963) by Sergei Michailovich Slonimsky: Musical Analysis and Discussion on Interpretation and Performance." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3147/.

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The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combin

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19

Lee, Sanghie. "Rachmaninoff's Early Piano works and the Traces of Chopin's Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1539960507461835.

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20

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

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21

Luo, Yeou-Huey. "The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332339/.

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One of the most important compositional theories of Alexander Tcherepnin (1899-1977), Russian-American composer and pianist, is the Eurasian ideology, which was a result of the influence of Eastern culture. Inspired by this theory, Tcherepnin not only extricated himself from his own compositional techniques, but also intensified his search for musical folklore. In April, 1934, he began a world tour which was to include China, Japan, Singapore, the Philippines, Egypt, and Palestine, to search for "musical folklore." He became so fascinated with the culture of ancient China that he cancelled the

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22

Hansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.

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Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone product

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23

Kwon, Suk-Rahn. "Young-Jo Lee's Variations on the theme of Baugogae: In search of his own language, a lecture recital, together with three recitals of selected works of J. Haydn, S. Rachmaninoff, R. Schumann, O. Messiaen, and F. Liszt." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2464/.

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The objective of the dissertation is to examine Young-Jo Lee's (b. 1943) musical language as exhibited in his piano composition, Variations on the theme of Baugogae. Subjects of discussion include Lee's use of direct and indirect musical borrowings from past European composers and traditional Korean folk idioms. Also included are a biographical sketch of the composer and historical overview of modern Korean composers. This dissertation investigates Lee's effort to synthesize traditional Korean music and Western music in one art form and ultimately, to create his own musical language.

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24

"Piano Variations by Liszt, Lutoslawski, Brahms, and Rachmaninoff on a Theme by Paganini." Thesis, 2012. http://hdl.handle.net/1911/70520.

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Theme and Variations is arguably one of the oldest musical forms in music history. Composers have used certain themes repeatedly as thematic sources for variations. Among them, Paganini's Caprice No. 24 in A minor is certainly the best known, since the theme has inspired many composers for variations of their own. The purpose of this study is to analyze different sets of Variations on Paganini's theme by Franz Liszt, Witold Lutoslawbski, Johannes Brahms, and Sergei Rachmaninoff, in order to examine, identify, and trace how far an original idea can be stretched by using different variations tec

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25

Kono, Yutaka 1971. "Discussion of transcribing music for tuba and a transcription of Sergei Rachmaninoff's Sonata for cello and piano, in G minor, op. 19." 2002. http://hdl.handle.net/2152/11062.

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26

Wu, Yen-Jin, and 吳彥瑾. "Sergei Rachmaninoff Preludes for piano." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/8wmy4r.

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27

Glover, Angela Streem James. "An annotated catalog of the major piano works of Sergei Rachmaninoff." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08262003-154535/.

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Treatise (D.M.A.)--Florida State University, 2003.<br>Advisor: James Streem, Florida State University, School of Music. Title and description from treatise home page (viewed 9-23-04). Document formatted into pages; contains 86 pages. Includes biographical sketch. Includes bibliographical references.

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28

Tu, Chiu-tzu, and 杜秋慈. "A Research of Piano Writing Style in Sergei Rachmaninoff ''s Songs." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/79782106472569777467.

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碩士<br>國立中山大學<br>音樂學系研究所<br>103<br>The Russian song, also named as Romans or Romance, is the similar genre as German Lied, which was based on poems by poets and accompanied with piano. The importance of piano part in Russian songs was increasing significantly. With the piano solo masterpieces written by the distinguished pianist Serge Rachmaninoff (1873-1943), he certainly had created many virtuosic features for the pianistic writing style of Russian songs. This research will focus on the analytical aspect of the piano part from Rachmaninoff’s songs to find the relationship between different ma

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29

Lo, Jung-Hsiu, and 羅容秀. "The Quotation of〈Dies Irae〉in the Music of Sergei Rachmaninoff." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/ryes8g.

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30

Kim-Tetel, Sophia. "A musical analysis of Sergei Rachmaninoff's Sonata for cello and piano, op. 19." 2011. http://liblink.bsu.edu/uhtbin/catkey/1652233.

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31

Shui, Chi-Ming Shamper Dan. "Preludes and sonatas inspired by Chopin a survey of piano solo and chamber music from Chopin, Scriabin, and Rachmaninoff." 2007. http://hdl.handle.net/1903/9726.

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32

Huang, Won-Chi, and 黃婉綺. "A Study on Sergei Rachmaninoff《Etude-Tableaux, Op. 39》: An Analysis on music features and skills from performer's perspective." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/21909406250099638016.

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碩士<br>國立臺南藝術大學<br>音樂表演與創作研究所<br>98<br>Sergei Vassilievitch Rachmaninoff (1873-1943) is a significant figure in the early twentieth century of Russia. His music compositions represent the ideas of democracy among capitalist class in Russian; namely, he is a successor to the traditional classical music. He created《Etudes-Tableaux Op. 33》and 《Etudes-Tableaux Op. 39》 at his midterm age, and these two compositions have an extremely role in the history of piano. Romantic composers like Frédéric Chopin (1810-1849) create a new road to the Etudes, and Rachmaninoff enhances the status of the Etudes si

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33

Kim, Choah. "The choreographic character piece for piano solo: “Cinderella” by Sergei Prokofiev comparative study between ballet and piano transcriptions." Thesis, 2019. https://hdl.handle.net/2144/36074.

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This dissertation attempts to shed new light on the value of Sergei Prokofiev’s piano transcriptions from the ballet Cinderella, exploring his distinguished body of work through a comparative analysis of the ballet Cinderella and its piano transcriptions. Prokofiev reproduced his nineteen (19) transcription pieces in three sets—op. 95, op. 97, and op. 102—from the ballet, and they are distinctive in many significant aspects, including the organization within a movement, form, harmony, and textural modifications, when compared to the ballet and its piano reduction. In addition, the characters

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34

"Artistic Fusion in the Piano Concert: The Piano Recital and Concepts of Artistic Synergy: Includes two multimedia projects: Picturing Rachmaninoff & Picturing Ravel." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14651.

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abstract: This paper investigates the origins of the piano recital as invented by Franz Liszt, presents varying strategies for program design, and compares Liszt's application of the format with current trends. In addition it examines the concepts of program music, musical ekphrasis, and Gesamtkunstwerk and proposes a new multimedia piano concert format in which music combines with the mediums of literature and the visual arts; Picturing Rachmaninoff, and Picturing Ravel provide two recent examples of this format.<br>Dissertation/Thesis<br>D.M.A. Music 2012

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35

Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music." 2003. http://hdl.handle.net/1959.13/24961.

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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it

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