Relevant bibliographies by topics / Robert Muczynski

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  1. Dissertations / Theses

Academic literature on the topic 'Robert Muczynski'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Dissertations / Theses on the topic "Robert Muczynski"

1

Cho, Min-Jung. "A performer's guide to the six Preludes, op. 6, and Toccata, op. 15, of Robert Muczynski : With a short synopsis of Russian influence and style /." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1039032702.

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2

KOSTRABA, GREGORY CHRISTIAN. "THE FIRST PIANO TRIO BY ROBERT MUCZYNSKI." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1048094945.

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3

Oh, Eun Jun. "An analytical study of Robert Muczynski's Second piano trio." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/oh%5Feun%5Fjun/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 Sept. 10, 2001, June 25, 2003, Apr. 2, 2005, and Nov. 10, 2005. Includes bibliographical references (p. 49-53).
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4

Oh, Joo Young. "An Introduction to Selected Character Pieces for Piano by Robert Muczynski." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596103.

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Robert Muczynski (1929-2010), composer, pianist, and educator, is a noteworthy American musician from our time. His prowess as a pianist undoubtedly accounts for the striking number of pieces he wrote for the piano, namely, one concerto, preludes, sonatas, suites, a toccata, and variations. Out of a total of forty-eight pieces with opus numbers, seventeen are for solo piano. This document contains an overview of Muczynski's life as a composer and musician, with an emphasis on his solo piano compositions. The body of the document traces sources of Muczynski's compositional style, especially the influence of Alexander Tcherepnin, his composition teacher and mentor, and Sergei Prokofiev. An analysis of some of Muczynski's shorter piano solo pieces follows: Six Preludes, op. 6, Suite for Piano, op. 13, and Toccata, op. 15. This analysis demonstrates that Muczynski's short piano pieces often exhibit a persistent focus on one generative musical idea within each piece, usually consisting of unifying etude-like material. For variety and color, he relies on frequent changes of metric pulse, sudden accents, highly chromatic harmony and melody, and an extreme range of sound. These stylistic traits are consistent with those previously identified by other scholars in his larger piano compositions.
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5

Fosheim, Karen Marie. "Similarities between two dissimilar American piano sonatas of the 1960s: The second piano sonatas of Robert Muczynski and Robert Starer." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186663.

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Two significant American composers, Robert Muczynski (b.1929) and Robert Starer (b.1924), composed piano sonatas in the years 1964-66, despite the tendency of other composers of the time to utilize less traditional structures. The second Sonatas of Muczynski and Starer are intricately conceived, finely crafted, and worthy examples of mid-century trends in American composition and they give evidence of the continuing viability of the sonata form. This study will examine the stylistic similarities between two works that utilized, paradoxically, differing methods of compositional technique. These men chose different compositional languages, yet they chose the same formal structure to organize their work. This study will focus on those features that are style-determinant. I believe that many of the common stylistic traits present in the second piano Sonatas of Robert Muczynski and Robert Starer may be a result their common environment, as contemporary trends common to the culture of composers can have a significant influence on the style of their works.
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Cho, Min-Jung. "A Performer’s Guide to the Six Preludes, Op. 6, and Toccata, Op. 15, of Robert Muczynski, With a Short Synopsis of Russian Influence and Style." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1039032702.

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7

Seidel, Liz. "Aspects of piano pedagogy and performance for the early advanced student : a stylistic analysis of the Concerto No. 1 for piano and orchestra by Robert Muczynski." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1236012.

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The purpose of this study is to investigate the pedagogical and performance aspects of Robert Muczynski's Concerto No. I for Piano and Orchestra. The work targets the early-advanced level of performance, representing a tutorial step in technical and musical difficulty. Muczynski's writing offers mild characteristic tendencies in comparison to later practices within the century, but does exhibit the emergence of a variety of significant keyboard skills. Moreover, his intermittent use of atonality is ideal for a student who is not yet comfortable with this idiom. For these reasons, the concerto serves as an excellent introduction to the genre for this level of study.This investigation is prefaced by an introduction to the topic of piano pedagogy in relation to concerto study, along with a brief biographical sketch of the composer. The investigation then provides a stylistic analysis of the Concerto No. 1 for Piano and Orchestra. Each movement is examined comprehensively (by formal structure) according to inherent technical and interpretive challenges, and musical examples are offered in connection with suggestions for practice and execution.Findings reveal a cross-section of twentieth-century innovation and challenge which not only represent the unification of Muczynski's style, but also offer opportunity for growth and development in terms of keyboard performance and the application of sound musical decisions.The investigation closes with suggestions for the study of other twentieth-century concerti closely resembling this work in style, but more artistically challenging in performance.
School of Music
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8

Ahn, Kwang Sun. "An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2548/.

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The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure to the areas of structures and tempo markings in succeeding variations.
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9

Tsai, Han-yu, and 蔡函育. "A Study of Fantasy Trio, Op. 26 By Robert Muczynski." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/r2k6wy.

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碩士
國立中山大學
音樂學系研究所
103
Robert Muczynski（1929-2010）is an American composer, educationaist, and pianist. In the year of 1969, he planned to give a concert all performed by clarinet, cello and piano as a team of trio. The result - he composed the Fantasy Trio, Op.26. The premier was taken place at Arizona State University. Muczynski applied binary form and arch form to construct the movements. The music was influenced by Neoclassicism composers’ technique, such as Igor Stravinsky’s Eight-Note Scales, Paul Hindemith’s Pitch-Centricity, Bela Bartok’s harmony of tonality and mode combination, change meter, interval parallelism, and so on. The performance practice issues such as the marks of accent and tenuto signs in score are dicussed. The interpretation of tempo rubato is based on publishing sound recordings for references. Furthermore, at the end of the paper also deals with the difficult parts of the music in order to solve the performance problems. Besides introduction and conclusion, this research includes four parts, first part is the life of Muczynski, second part discusses the combination of clarinet, cello and piano as a trio, third is the music forms of Fantasy Trio, Op.26, fourth part is the performance practice issues.
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10

Chiu, Shih-Chen, and 邱詩晨. "An Analysis and Interpretation of Time Pieces, Op. 43 by Robert Muczynski." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/s2a5es.

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碩士
國立臺灣師範大學
音樂學系
106
Time Pieces was commissioned by famous clarinetist Mitchel Laurie and composed by American Composer Robert Muczynski and has been acclaimed a spot on clarinet standard repertoire. The energetic rhythm and elegant melodies bring vibrant emotions to this piece. With the diverse elements Muczynski makes Time Pieces an impressive work for clarinet. Muczynski was a recognizable American composer and pianist in 20th Century. This paper starts on his background and styles of compositions. By understanding Mucyznski's composition concepts, this paper presents a discussion on the contractual analysis of Time Pieces and my prospect on performance suggestions. The goal of this paper is to make me understand the concept of Muczynski's compositional ideas on Time pieces in order to perform it well on stage. I also hope this research will help people who are also interested in Muczynski and Time Pieces.
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