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Dissertations / Theses on the topic 'Robert Muczynski'
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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 /." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1039032702.
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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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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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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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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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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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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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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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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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Hsieh, Chun-Hua, and 謝君華. "The Analyses and Interpretation of Robert Muczynski''s "Time Pieces" for Clarinet and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/84508245422403376992.
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碩士台南科技大學
音樂研究所
98
The primary purpose of this thesis is to thoroughly discuss Robert Muczynski’s Time Pieces for Clarinet and Piano, Op. 43. This thesis is organized as follows. The first part presents the biography and musical style of Muczynski, and the background of this work. The second part analyzes this work, music form and the author’s interpretation and suggestions of this composition. Through this thesis, readers are expected to have more understanding about this work.
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Liu, Ching Hua, and 劉清華. "The Analysis and Interpretation of Robert Muczynski’s《Time Pieces》Op.43." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/9b66yu.
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碩士國立臺灣藝術大學
音樂學系
100
Robert Muczynski is one of the most important Neo-classical composers and pianists of the twentieth century. Time Pieces for Clarinet and Piano, Op.43, has been composed in 1983. His works are a collection of strong rhythm patterns, vitality and performance for the concept of time. This unique personal style makes this work continue to be staged around the world, it also becomes a frequent repertoire of concerts and competitions, deeply apprciated by all clarinetist. This thesis consists of three parts. The first part presents the biography and musical style of Muczynski, and the background of this masterpiece. The second part analysis this piece in detail and proposes the author’s interpretation and suggestions of performing this composition. The third part is a compares of different performing styles of three recordings. Otherwise, I visit the famous American clarinetist Nathan Williams, thus we can get a closer understanding of different performers’ thoughts and experiences of this music. From the performer’s point of view, this study provides appropriate performing technique and interpretation in order to convey the composer’s musical ideas and expressions.
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Lu, Cheng-Yu, and 呂承祐. "The Study and Interpretation of Robert Muczynski’s Sonata for Flute and Piano, Op. 14." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/60897030815363168546.
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碩士國立臺灣藝術大學
音樂學系
97
Robert Muczynski (b. 1929 ) is one of the most important Neo-classical composers of the twentieth century. His works contain distinguishing rhythm with vitality. Sonata for Flute and Piano, Op.14, his masterpiece composed in 1960-1961, is characterized by the distinctive modern harmonic language and Jazz elements within the classical Sonata Form. This piece won the Concour Internationale Prize for Muczynski, and it has become a standard work in the flute literature and one of the composer’s most popular works nowadays. This study consists of three parts. The first deals with the biography and musical style of the composer, including the background of this masterpiece. A detailed analysis of this piece is provided in the second part, and Muczynski's interpretation and suggestions on the piece are discussed in the third. With the combination of the analysis and discussion, the author hopes this study will benefit the performers for their study and performance close to the originality of Muczynski's music.
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Tsai, Meng-Yun, and 蔡孟昀. "An Analysis and Interpretation of Robert Muczynski’s Desperate Measures (Paganini Variations) for Piano, Op. 48." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/07390513846194766190.
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碩士國立東華大學
音樂學系
103
Robert Muczynski(1929-2010), a Polish-American composer in the 21st century, accomplished an admirable work, 《Desperate Measures “Paganini Variations” Op.48》, completed in June of 1994 and published by Theodore Presser Company in 1996, dedicated to his sister Gloria.《Desperate Measures “Paganini Variations” Op.48》, a set of variations upon the theme from Niccolo Paganini 24 Caprices Op.1, No.24 in A Minor, consisted of the theme and twelve variations, is distinctive by all facets of piano technique to present a well-crafted work. These variations colorfully laden with diverse tempos and characters in a rich harmony, strongly tinged with jazz and along with both by the styles of classic music and popular music, which is what we could identify a coexistence of compositional technique from extended musical palettes by Muczynski. In this article, suggestions of piano technique to perform this work more fruitful and draw closer to composer’s original idea are addressed. Starting from the biographic sketch and cultural background of Muczynski, then the article will discuss the styles and features of 《Desperate Measures “Paganini Variations” Op.48》, followed by analysis of compositional techniques, such as structure, harmony, and tempos, consistent with advise offered by writer’s experience on performance schemes like control of keyboard, pedal, tone production and texture.
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Wang, Chi-Hao, and 王麒豪. "The Analysis and Interpretation of Robert Muczynski’s《Time Pieces》 for Clarinet and Piano, Op. 43." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/81000004282799532889.
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碩士國立臺北教育大學
音樂學系碩士班
103
Robert Muczynski ( 1929~2010 ) was a representative American composer, pianist and music pedagogue of the twentieth century. His Time Pieces for Clarinet and Piano, Op.43 was commissioned in 1983 by Mitchell Lurie, a renowned American clarinetist. This piece demonstrates the structural balance emphasized by Neoclassicism and utilizes some musical elements such as strong accents, irregular meters, hemiola, chromatically altered tones, and octatonic scale to enrich the ever-changing vitality of the music. This thesis presents my study of the composition in three directions; the first part presents the biographical information of the composer and the background of Time Pieces for Clarinet and Piano, the second part provides analysis of this piece from structural, thematic, motivitic and rhythmic points of view, the third and final part is my suggestions on interpreting this composition. This study is expected to offer some perspectives for clarinetists to understand the music and resolve problems they would confront when performing it.
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Li, Ni-Yin, and 李妮穎. "The Analysis and the Interpretation of Robert Muczynski’s Time Pieces for Clarinet and Piano, op.43." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/bb4bza.
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碩士國立臺灣師範大學
表演藝術研究所
105
Robert Muczynski (1929-2010) is an American composer in the 20th century. This study explores the Time Pieces for Clarinet and Piano, Op.43 of Robert Muczynski. Time Pieces for Clarinet and Piano, Op.43 was commissioned by an American Clarinetist Mitchell Lurie (1922-2008) in 1983. Muczynski not only gave the gracefully melody and strongly rhythmus into this work but also showed his own musical style completely. This is also a very important piece of one of his woodwinds collections. This study includes four chapters: Chapter one is the introduction, by listing the purpose and the motivation of this research, and then summarizing the research methodology; Chapter two is the literature review, by briefly summing up the 20th century American music style, and then discussing the life and music characters of Robert Muczynski, also the background of Time Pieces for Clarinet and Piano, Op.43. Chapter three is the analysis and interpretation of Time Pieces for Clarinet and Piano, Op.43. This study is to give the performance suggestions for collaborative pianists by understanding the composing techniques and analyzing this work. The final chapter is conclusion to summarizing the emphasis of each part, and showing the review of this study. At last, hope this study can provides some advices to other musicians who play Time Pieces for Clarinet and Piano, Op.43.