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Dissertations / Theses on the topic 'Variations (Harp and piano)'

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Published: 4 June 2021

Last updated: 7 February 2022

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1

Brissenden, P. G. "The reverse action Piano Harp : innovation and adaptation from Piano and Autoharp." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/37557/.

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The piano is capable of controlling significant polyphony through the detail of voicing and sustain; a unique ability. However it remains a limited and frustrating instrument in terms of its ability to manipulate timbre. Contact with the strings is remote, and timbre inflection limited to note-onset within the capability of its mechanism; its musical output is often likened to visual studies in black and white. From the standpoint of design all musical instruments compromise musical capability in one form or another in order to align with human physical and sensory capability. A full range of expression may be sought by developing expertise on different instruments, but this is frustrating; in terms of expert performance interfaces such as guitar and piano are mutually exclusive — common theoretical structure must be relearned for comparable performance expression. This study explores the potential to create an instrument comprising a set of musical compromises comparable to that of the guitar, whilst remaining adaptive to pianistic technique. It begins with exploration of the autoharp and posits a keyboard variant of this instrument. Practice based research has been undertaken in the form of a prototype series and musical engagement upon the resulting instruments. Five prototypes have been developed, practice engages with aspects of automated design and manufacture, and in the latter stages, working with an exceptional industry based luthier. The resulting instrument has been patented. Musical practice encompasses genres from gypsy-jazz to contemporary experimental music. New works have been commissioned for the instrument and other musicians have played and studied it. Practice is supported through analysis of related forms of musical instrument (which influence the developing design) and the nature of change within musical technology. The result is a new, versatile instrument, with demonstrated capacity to gain traction and to propagate within the musical community.

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2

Stankovic, Katarina. "Preludes Op. 28 for piano by Chopin played on harp - A Comparison." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391645.

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Solo harp performance has gained a tendency towards playing solo piano works on harp. Because of the different technical properties of the two instruments, hence the different way of playing, each individual piano piece requires new solution and cannot solely rely on some previously established universal instruction regarding this matter.

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3

Sheldon, Vanessa Renee. "Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/282893.

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The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the author also offers four of her own transcriptions of Liszt's solo piano compositions, corresponding from each of the four life stages, explaining why these are idiomatic for performance on the harp. This document also examines and explains any changes made from the original to the transcription with the inclusion of musical examples. These transcriptions, included in the document as appendices, are ready for publication and will hopefully become valuable additions to the harp repertoire.

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4

Saun, Rinna. "The Piano variations of Aaron Copland an analysis /." connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/saun%5Frinna/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 4 recitals, recorded Apr. 24, 2000, Apr. 9, 2001, Sept. 17, 2001, and Apr. 21, 2003. Includes bibliographical references (p. 37-39).

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5

Saun, Rinna M. "The Piano Variations of Aaron Copland: An Analysis and Study for the Performer." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc5529/.

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Aaron Copland has been in the forefront of the American musical scene since the 1920s. He has been called an "American composer" for his ability to formulate the essence of American folk music into a wide variety of mediums. The variety and scope of his compositions encompass a diverse array of styles and techniques. From the jazz influenced works that dominated his early period to the works for Hollywood films, from the chamber music that was directly influenced by his Jewish background to the partial acceptance of serial technique, Copland has managed to delve equally into all these styles. Yet, one could arguably rank his works for the stage as his most popular and generally most successful compositions of his career. The extent to which the American public has accepted these works as being "folk" is a case for the genius and adaptability of Copland's talent. Although works like Appalachian Spring, Rodeo, and Lincoln Portrait command the attention of the general public, of whom Aaron Copland was constantly aware, there are works for the piano that deserve and demand close study by pianists. One such work is the Piano Variations. Written in 1930, it has been acknowledged as a twentieth century masterpiece in publications for piano and piano literature as well as by pianists since its premiere in 1931. It is a brutal and sparse work that encompasses a quasi-serial technique in which the motto of four notes transforms itself through the course of twenty variations and a coda. The demands of learning a work such as this can be overwhelming for the pianist not accustomed to the rigors of a non-diatonic piece. However, a careful analysis precipitated by specific questions directed not only at learning the piece but also with the goal of performance in mind, can shape the interpretational issues that will eventually face the pianist. The questions that I pose are directly pulled from Michael Remson's article, "Copland's Piano Variations: A Forgotten Masterpiece." Although it is considered by this writer as an introduction to the technique of serialism, largely because of the classical practices among which are tonal center, period structure and interruptions of the motto, Copland's Piano Variations is a classic example of a twentieth century work that will be heard as avant-garde and studied in the style of late Romanticism.

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6

Chen, Han-yin. "Symmetrical pitch relations and variational procedures in George Crumb's Gnomic variations /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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7

Montgomery, Vivian S. ""Brilliant" variations on sentimental songs slipping piano virtuosity into the drawing room /." online version, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1175530770.

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8

Montgomery, Vivian Sarah. "“Brilliant” Variations on Sentimental Songs: Slipping Piano Virtuosity into the Drawing Room." Case Western Reserve University School of Graduate Studies / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=case1175530770.

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9

Dowdle, Caroline. "Bach's Goldberg variations : a study of technical and stylistic transference to the piano." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/18653.

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The Goldberg Variations comprise a unique compilation of Baroque compositional techniques, making great technical demands of the performer. Each variation has its own character and special technical problems for the pianist which have to be overcome before the set can be performed successfully. Several standard eighteenth century practices can be applied on the piano in the performance of the Goldberg Variations, including articulation, arpeggiation, tempo rubato, ornamentation, rhythmic alteration and the relating of tempi from variation to variation. To these can be added the possibility of a wide range of inflectional dynamics not available on the harpsichord, and the optional use of damper and una corda pedals. In this dissertation my endeavour has been to bring under the microscope, so to speak, the harpsichord and piano and their techniques and performance styles in relation to Bach's Goldberg Variations.

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10

Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

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Thesis (M.M.)--Bowling Green State University, 2007.
Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.

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11

Healey, John P. "THE SOLO PIANO MUSIC OF VIKTOR ULLMANN: FROM PRAGUE TO THE HOLOCAUST A PERFORMER'S GUIDE TO THE COMPLETE PIANO SONATAS AND VARIATIONS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991913187.

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12

Ross, Gareth Edward. "Re-evaluating ornamentation in a piano performance of JS Bach's Goldberg Variations BWV 988." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/72849.

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This dissertation investigates the practical considerations of executing specific ornaments in a piano performance of JS Bach’s Goldberg Variations BWV 988. Research will be presented which highlights how an understanding of the composition’s large-scale structure has an effect on the tempo choices by the performer, ultimately influencing the rhythm of an ornament. Various scholars’ rules and approaches towards ornamentation in the keyboard music of JS Bach will be scrutinised and applied in music examples from the Goldberg Variations. In some instances these rules will be shown to be contradictory and ineffective. Thus, their use in a modern performance of the Goldberg Variations becomes redundant. An analysis of performing traditions from reputable Bach keyboardists will be discussed, where their approaches to ornaments in the Goldberg Variations will be compared with the academic perspectives previously presented. The present writer will conclude this dissertation by offering his own solutions to ornaments in the Goldberg Variations which take into account the research and evidence gathered in the preceding chapters. To further support his choices of ornamentation a live and unedited recording of his performance of the Goldberg Variations has been included as an appendix. He endeavours for this dissertation to give the performer greater individuality in his/her approach to ornamentation in the keyboard music of JS Bach.
Mini Dissertation (MMus)--University of Pretoria, 2019.
Music
MMus (Performing Arts)
Unrestricted

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13

Lin, Kung-Chin. "Les variations dans la musique pour piano de Robert Schumann : contexte, style, perspectives pour l'interprétations." Paris 8, 2000. http://www.theses.fr/2000PA081703.

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C'est en tant que concertiste que nous avons mene des recherches sur l'architecture secrete des oeuvres pour piano de robert schumann. En choisissant - et en nous limitant - aux oeuvres pianistiques de schumann construites sur le modele theme et variations, notre but a ete d'envisager ensuite, armee d'une methodologie adaptee a ce style tres original d'ecriture pianistique, la poursuite de notre travail sur l'ensemble du corpus. Dans le premier chapitre, nous avons envisage les differentes sources, tant musicales que litteraires, qui ont alimente son inspiration de musicien. Dans un deuxieme chapitre, nous avons mene des investigations sur les differentes composantes techniques qui constituent les dimensions particulieres de son style : l'harmonie - la partie la plus originale de son ecriture de compositeur - le traitement tres complexe du rythme et les specificites du traitement thematicolineaire lui permettant la construction des formes. Dans le troisieme chapitre, nous avons mene une analyse detaillee des grandes oeuvres pianistiques de schumann sur le modele theme et variations. Il s'agit des variations abegg, opus 1, des impromptus sur un theme de clara schumann, opus 5, des douze etudes symphoniques (ou etudes en forme de variations), opus 13 et le troisieme mouvement de la troisieme grande sonate, opus 14. Au cours de ce chapitre, nous avons ete amenee a comparer les differentes editions, etude dans certains cas particulierement delicate, comme par exemple celle touchant a l'opus 13, oeuvre qui a fait l'objet de plusieurs editions et reeditions non seulement du vivant du compositeur, mais aussi apres sa disparition. Enfin, dans le 4e et dernier chapitre, nous avons mene une reflexion sur certains elements techniques participant de l'interpretation ; et nous avons compare entre elles plusieurs executions des oeuvres de schumann par de grands pianistes internationaux, en faisant part de nos propres commentaires de concertiste a propos de ces interpretations.

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14

Kramer, Ernest J. (Ernest Joachim). "Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330709/.

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The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. Chapter I contains a discussion of the role of the variation set in Beethoven's overall output. The teachers, composers, and works which may have influenced him are also discussed as well as his training in variation composition. Finally, those factors which Beethoven employed to unify his sets are listed and explained. Chapters II-V are devoted to detailed analyses of four striking variation sets: Opus 34, Opus 35, WoO 80, and Opus 120. Chapter VI presents a summary of the findings. It suggests that each of the sets investigated has a unique form and that each variation has a distinct place and purpose.

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Ehresmann, Hackmann Erin E. "Variations on a Theme: Berthe Morisot’s Reinterpretation of the “Woman at the Piano” Motif in Her Images of Girls at the Piano, 1888–1892." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498264.

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16

Spence, Jacob F. "L'Éternité : cantata for SATB soloists and choir, flute, cor anglais, bass clarinet, alto saxophone, timpani, eight percussionists, piano, harpsichord, celesta, harp, guitar and string orchestra." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/27450.

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17

HUNG, YU-SUI ESTHER. "BEETHOVEN'S VARIATIONS WoO 76, OPP. 34, 35, AND 120: A COMPARATIVE ANALYSIS BETWEEN AND AMONG." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1172509997.

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18

Bedont, Robert James. "The Creation of a Performance Edition and Piano Reduction of Justus Johann Friedrich Dotzauer's VIII Variations for Bassoon and Orchestra, Op. 40." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311590.

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A review of the published music for solo bassoon suggests that there is relatively little solo literature for the instrument that dates from the late eighteenth and early nineteenth centuries. This document focuses on the creation of a modern performance edition and piano reduction of a recently uncovered work for solo bassoon and orchestra by Johann Dotzauer, VIII Variations for Bassoon and Orchestra, Op. 40 (originally published by Freiderich Hoffmeister Musikverlag in 1817).A comparison of Dotzauer's work with a comparable published work by Anton Reicha, reveals that the two works are similar in their treatment of phrase structure, form, harmonic and melodic language, range, and solo passagework. This comparison has shown that Dotzauer's piece is representative of the type of writing for solo bassoon that skilled composers employed in the early nineteenth century. Through the editing process, errors and inconsistencies found in the newly-uncovered Hoffmeister Edition of VIII Variations such as corrections to pitches and notation, articulation markings, dynamic markings, and other changes have been corrected in a manner that both reflects the integrity of the Hoffmeister Edition and adds clarification for those who will perform the work. VIII Variations for Bassoon and Orchestra, Op. 40 by Johann Dotzauer, is a well-crafted composition for solo bassoon that will help fill a void in the literature for bassoon now that it is more accessible through the creation of a new performance edition and piano arrangement.

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Dousa, Nayeli. "The Piano Works of a Contemporary Mexican Expatriate: Samuel Zyman's Two Motions in One Movement and Variations on an Original Theme." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/292675.

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Samuel Zyman (b. 1956) is one of the leading Mexican composers of our time. He has composed more than 55 works in a variety of genres, including symphonies, concertos, orchestral pieces, film music, chamber music, and music for solo piano. This study includes an overview of Zyman's background as a musician and composer, with an emphasis on his solo piano works. It provides a discussion of Zyman's musical style and an analysis of his two most recent solo piano compositions, Two Motions in One Movement and Variations on an Original Theme. Zyman cites the music of Bartók and Prokofiev, along with Impressionism and jazz music, as important influences in his piano compositions. This study demonstrates that in his solo piano compositions Zyman has created a style that incorporates four diverse influences of 20th-century modern compositional practice -- the tonal language and percussive approach to the piano of Bartók, textural elements found in Prokofiev's piano works, elements of Impressionism, and certain rhythmic and harmonic elements of jazz music -- into a distinctly personal 21st-century voice. This synthesis of disparate elements into a compelling contemporary musical language makes Zyman a modern composer deserving of the attention of professional musicians and scholars. This study provides musicians insight into Zyman's compositional style, and brings the work of an important Mexican composer of our time to the attention of contemporary pianists and audiences.

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Power, Ian. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464822.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 13, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF version of the thesis.

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Baril, Félix Frédéric. "Dérèglement passager de corps hétérogènes : le concept d'organisme musical et la métaphore du virus : étude sur les possibilités de développement organique du matériau musical." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100751.

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Dereglement passager de corps heterogenes is a work for flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), horn, piano, violin, cello and contrabass which explores the concept of "virus" within a musical form similar to the theme and variations. During its elaboration, I imagined what could metaphorically be the effects of different virus on what I define as "musical organisms". This idea suggested a number of variations that could serve as laboratories to experiment different levels of interaction between the virus and the musical organisms. This thesis consists of the musical score and a detailed analysis.

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22

Kim, Na Young. "An analysis of and performance guide to Lou Harrison's Suite for Piano and Kenneth Leighton's Six Studies: Study-Variations Op. 56." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1077734895.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xv, 151 p.; also includes graphics (some col.). Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center

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Shin, Eun Young. "A Study of Selected Compositional Techniques Found in Young Ja Lee's Variations Pour Piano "Umma ya, Nuna ya" (1996)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062878/.

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Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.

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Alves, Aline da Silva. "Marlos Nobre : variações rítmicas Opus 15 para piano e percussão, uma abordagem analítica visando à interpretação." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284404.

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Orientadores: Mauricy Matos Martin, Fernando Augusto de Almeida Hashimoto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-20T17:54:10Z (GMT). No. of bitstreams: 1 Alves_AlinedaSilva_M.pdf: 21332609 bytes, checksum: 1b443b99d62f525e34fc7498035908ae (MD5) Previous issue date: 2012
Resumo: Este trabalho aborda a peça Variações Rítmicas opus 15 para piano e percussão típica brasileira do compositor Marlos Nobre. Seu objetivo principal foi realizar um estudo analítico e um mapeamento histórico da peça a fim de proporcionar ao intérprete uma maior intimidade com a obra a ser executada. A metodologia divide-se em duas partes: estudo do contexto histórico sob o qual a obra foi criada e o estudo analítico da obra musical e do seu estilo através da análise da partitura. O estudo do contexto histórico foi realizado a partir de trabalhos que enfocam a biografia sobre o compositor, a revisão da literatura sobre sua obra e de trabalhos que abordam a história da música no Brasil. O estudo analítico teve como referência o trabalho de Jan LaRue (1998) que enfoca o estilo musical através de um estudo descritivo dos elementos musicais que compõem a peça. As sugestões de execução para o pianista, que se encontram no decorrer do texto de estudo analítico, abordam aspectos relacionados à utilização dos pedais, à equalização sonora e às questões técnico-motoras. Na conclusão foi evidenciado como o compositor relacionou elementos dodecafônico-seriais de composição com elementos rítmicos brasileiros e também em quais aspectos o estudo analítico contribuiu diretamente para a execução pianística. Os resultados demonstraram que Variações Rítmicas opus 15 é uma peça que foi claramente influenciada pelo entorno cultural vivido pelo compositor no início dos anos 1960 e, apesar de ser uma peça de juventude, apresenta traços marcantes do estilo composicional de Marlos Nobre como a técnica de variação contínua e o uso de elementos nacionais
Abstract: The historical study was based on the literature concerning the This dissertation deals with the composition Variações Rítmicas opus 15 para piano e percussão típica brasileira [Rhythmic Variations Opus 15 for Piano and Typical- Brazilian Percussion] by Marlos Nobre. Its main objective is to provide an analytical and historical study thus giving the interpreter more detailed knowledge of the piece for performance. The methodology adopted is divided in two parts: a study of the historical context in which the piece was composed and an analytical study of its style through an analysis of the score. composer's biography and his musical output, as well as the music historical context of Brazil. The analytical study is based mainly on the work of Jan LaRue (1998) which focuses on musical style through a descriptive approach of the musical elements that make up the composition. Suggestions of e xecution for the pianist, provided throughout the analytical study, deal with aspects related to pedaling, voicing and technical - motor issues. The conclusion demonstrates how the composer relates twelve - tone serialism to Brazilian rhythmic elements and also in which ways the analytical study contributes directly to the performance of the piano part. The results demonstrate that the Variações Ritmicas Opus 15 is a composition clearly influenced by the cultural environment lived by the composer in the beginning of the 1960's, and although it is a work from his youth, it still presents striking traces of Marlos Nobre's compostional style such as continuous variation and the use of nationalist elements
Mestrado
Praticas Interpretativas
Mestre em Música

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25

Gray, Justin. "Motivic development in the piano music of Karl Weigl (1881-1949)." Thesis, Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5175.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 29, 2004, Nov. 15, 2005, Apr. 17, 2006, and June 11, 2007. Includes bibliographical references (p. 19).

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Yang, Yang. "The love motion in a minor piano concerto op. 54 and variations on the theme by R. Schumann op. 20." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/22585.

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Mestrado em Música
This thesis aims to research the role of music as an emotion expressed in motion. Based on the study of two pieces: Robert Schumann’s A minor Piano Concerto Op.54 and Clara Schumann’s Variations on a theme by Robert Schumann Op. 20, I explore the emotion of love between Robert and Clara Schumann throughout their lives, verifying the emotion of love as related to their musical creativity. Another important aim of this thesis involves my interpretation and playing experience of these two compositions. I obtain my understanding of the musical moods and meaning enriching my imagination, which translates through the aural senses to the kinetic body movements, culminating in the real musical sound and its emotional expression.
Esta tese tem como objetivo pesquisar o papel da música como emoções expressas em movimento. Baseado nos dois objetos de estudo: Concerto de Piano em Lá menor Op. 54 de Robert Schumann e Variações sobre a Tema de Robert Schumann Op. 20 de Clara Schumann, exploro a emoção de amor entre Robert e Clara Schumann em suas vidas. Verifico que esta emoção de amor está sempre relacionada com as criatividades musicais dos dois. Outro objetivo importante envolve a minha interpretação e a experiência de tocar nessas duas composições. Tento alcançar o meu entendimento sobre os espíritos e significados musicais das obras para enriquecer a minha imaginação. Esta última vem através da sensação auditiva para os movimentos cinéticos do corpo e, finalmente alcança a uma verdade sonoridade musical e a sua expressão emocional.

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Kim, Dajeong. "An Instructional Approach to Introducing Twentieth-century Piano Music to Piano Students From Beginning to Advanced Levels: a Graded Repertoire for Mastering the Challenges Posed by Logan Skelton’s Civil War Variations." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407754/.

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Beginning and intermediate piano students typically study the repertoire of the eighteenth and nineteenth centuries. This pedagogical approach leaves them underprepared to approach compositions written since the latter part of the twentieth-century which are significantly different in terms of harmony, rhythm, meter, and compositional procedure. Therefore, a step-by-step method is necessary to prepare a student for the challenges of learning twentieth and twenty-first century piano music. Civil War Variations (1988), by Logan Skelton, is an excellent example of a piece that presents a number of challenges characteristically found in late twentieth-century piano music. The twenty-five variations that comprise the work incorporate a series of twentieth-century musical techniques, namely complex rhythms, extreme dissonance, frequent metric changes, dissonant counterpoint, the inclusion of blues scales and rhythms, and new notations. The purpose of this study is to identify the technical, musical, structural and notational challenges posed by a work such as Logan Skelton’s Civil War Variations; examination of this piece will lead to suggestions regarding repertoire that a teacher may assign to beginning, intermediate, and advanced students in order to prepare them logically and in a step-by-step fashion to cope with and meet the challenges posed by this and other compositions having similar characteristics.

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Hu, Yingzhou. "Variations Op. 41 and Etudes Op. 67 by Nikolai Kapustin: Historical Background, Stylistic Influences, and Performance Approaches." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1610037557641902.

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Kim, Warren. "Marc-André Hamelin's "Variations on a Theme of Paganini": The Effect of Polystylism through Pastiche and Musical Borrowing in Variations." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609093/.

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Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variations reach outside of Classical music, even adopting elements from salsa and friska. The spectrum of composers and styles included in this set are so radical and shocking that it creates a parody of not only Paganini's theme, but also the tradition of theme and variation pieces it has inspired. Due to its multiple variations juxtaposing extremely different styles, Hamelin's Variations on a Theme of Paganini presents the listener with a musical puzzle that is designed to invoke surprise. The juxtapositions of extremely different styles in these variations create disjointed variations with polystylism. The polystylism in this work diversifies his variations, while unifying these seemingly unbalanced movements through broad musical references. As such, both performers and listeners stand to benefit from a detailed, critical examination of the piece. I consider not just the musical sources themselves, but also the ways in which they interact, paying close attention to Hamelin's use of parody and humor.

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Fernandes, Ana Cristina Pereira. "A música para piano de Clara Schumann: uma perspetiva analítica." Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16163.

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Este trabalho de projeto foca-se na música para piano de Clara Schumann. Contextualiza as obras da compositora na sua biografia e analisa as formas, tonalidades, texturas, temas e influências usadas na música para piano; ABSTRACT: This research project focuses on the piano music of Clara Schumann. It contextualizes her works within her biography and analyses them in terms of form, key, texture, theme and influence.

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Murphy, Eliana Maria. "An Analytical Comparison of the Variation Movement from Ludwig van Beethoven's Piano Sonata in E Major, Op. 109 to Johann Sebastian Bach's Aria mit verschiedenen Veranderungen, BWV 988 ("Goldberg Variations")." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377870823.

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Gibb, Charles. "Benjamin Britten's Neglected "Gemini Variations," Op. 73 and Its Place in the Chamber Music Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703357/.

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In 1964, Benjamin Britten met the multi-instrumentalist twins Zoltán and Gábor Jeney while traveling in Budapest. At their behest, Britten composed Gemini Variations: Twelve Variations and Fugue on an Epigram by Kodály, a work which exploited the brothers' abilities on multiple instruments: Zoltán on flute and piano, and Gábor on violin and piano. In foreseeing the difficulties of programming this work, Britten simultaneously arranged a version for four players: flute, violin, and four-hand piano, eliminating the need for switching instruments. Despite this arrangement, as well as a very public and highly anticipated premiere at the Aldeburgh Festival in 1965, Gemini Variations has remained neglected by performers and scholars alike. This document serves to 1) promote a work that can justifiably be considered as part of the chamber music repertoire involving flute; 2) advocate for its musical merit and appropriateness for chamber music concerts made up of more traditional groups of players; 3) compare the two-player and four-player versions Britten wrote; and 4) explore the likely reasons why a piece by one of the most celebrated composers of the twentieth century has remained largely ignored for over fifty years.

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Sagona, Amalia. "Edvard Grieg’s Ballade in the Form of Variations on a Norwegian Melody, Op.24, for Piano, and Old Norwegian Melody with Variations, Op.51, for Two Pianos: An Analytical Overview and Interpretive Study of the Variation Procedure." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1257892076.

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

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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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Kumamoto, Yuki. "Soviet Music as Bricolage: The Case of the Piano Works of Nikolai Rakov (1908-1990)." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703341/.

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Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.

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Choi, Yujin. "A Study of Selected Pedagogical Aspects of Two Intercultural Pieces for Late Intermediate and Early Advanced Students: "Variations sur un thème populaire coréen" by Sung-Ki Kim and "Six Pieces for Piano ‘Nori'" by Chung-Sock Kim." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609156/.

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I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composers incorporate Korean folk materials and blend them with Western contemporary techniques. An analysis of Sung-Ki Kim's Variations sur un theme populaire coréen and Chung-Sock Kim's Six Pieces for Piano ‘Nori' can be divided into three categories: harmony, rhythm, and performance-related aspects. By analyzing these two pieces, these study illustrates in greater depth their intercultural aspects, showing the way by which both composers merged traditional Korean folk idioms through the inclusion of traditional Korean rhythms, and the imitation of sounds of several traditional Korean instruments with Western contemporary technique such as non-traditional sounds and use of sostenuto pedal. Finally, this study provides some practicing suggestions and listing exercise on how to practice musical and technical challenges.

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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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Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.

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Monroe, Jonathan. "A Selection of Nineteenth Century Trumpet Literature for Low F Trumpet: A Performance Edition of F.G.A. Dauverné's Variations op. 3 and Amilcare Ponchielli's Concerto per Tromba e Banda op. 123." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984202/.

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This dissertation presents a performance guide of two solos for early valved trumpet, as well as an appraisal of their historical significance. The first of these solos is F. G. A. Dauverné's Variations pour trompette à pistons avec accompagnement de Piano-forte, op. 3 (1833). The second solo examined is Amilcare Ponchielli's Concerto per Tromba e Banda, op. 123 (1866). Although Ponchielli's work dates from only the middle of the century, by time of its composition the valved trumpet had already been developed enough to have attained true artistic value. This dissertation provides evidence concerning the evolution of nineteenth solo literature for the Romantic trumpet by means of formal analysis in regard to form, harmony, and historical performance practice.

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41

Falterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.

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One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.

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Sanders, Raphael P. "Louis Cahuzac's Clarinet Music: an Examination of Selected Works, with Three Recitals and a Solo Performance of Selected Works by Debussy, Reinecke, Bloch, Stravinsky, Mozart and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278517/.

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Louis Cahuzac was one of the most sought-after clarinetists in the first half of the twentieth century. He was also highly respected as a conductor, as a teacher, and as a composer of music for the clarinet. The selections performed and discussed in the lecture depict Cahuzac's use of simple compositional forms and procedures which blend the expressive capability of the clarinet with its technical potential.

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"The Piano Variations of Carl Czerny." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63062.

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abstract: Positioned between Beethoven and Liszt in the golden period, Carl Czerny (1791-1857) played a significant historical role in the area of piano pedagogy. Many pianists are familiar with and have played Czerny’s études, or technical exercises. However, few delve into Czerny’s piano works for performance, including eleven piano sonatas and more than 180 works titled variations. The project at hand examines three of Carl Czerny’s variation works for piano: Opus 33 (on a theme of Rode), Opus 281 (on a theme from Bellini’s Norma, in its solo piano version), and Opus 292 (on an original theme). These works are explored from both compositional and performance perspectives. After a brief biography of Czerny that places his variations into the context of his compositional output, the three variation sets are given analytical description. A chapter on the “Rode Variations” focuses on the technical and musical challenges for the pianist. An important conclusion reached is that these somewhat-neglected works might be attractive to pianists looking to expand their repertoire.
Dissertation/Thesis
Variations brillantes sur un thême original, Opus 292
Carl Czerny Introduction, variations et presto finale sur un Thème favori de l’Opéra Norma de Bellini, Opus 281
Rode Variations, Opus 33
Doctoral Dissertation Music 2020

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Kwon, Hyun-Jin. "The development of piano variations in the romantic era." 2005. http://hdl.handle.net/1903/9750.

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Hu, Yu-chi, and 胡毓琪. "The Study of Mozart Variations for Piano." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/06506387034453583777.

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碩士
國立臺南大學
國教所音樂教育科碩士班
93
This research explores the importance of the Mozart’s piano variations to the piano music in the Classic Era. The sources and developments of those works are figured out by historical literature search. Moreover, the patterns of developing the themes, the performance techniques and the methods of improvising ornamentation are discussed as well by analysis, in order to look the features of Mozart’s works and the manners of ornamentation. As a whole, this thesis is divided into four chapters. The first chapter is an introduction. The second chapter is a literature search, which discusses the life and musical style of Mozart and the general methods of variations in the Classic Era. Followed by the third chapter, in which presents the connotation of the Mozart’s piano variations from the developments of variations and the alterations of tonality and tempo to the performance techniques and the methods of improvising ornamentation. The conclusion is placed in the final section, the fourth chapter. The themes on Mozart’s piano variations are mainly developed by ornamentation improvisation. As Mozart gets older and broadens his vision gradually, he consequently applies different improvisatory techniques to his three-period compositions. In the early period, Mozart uses plain methods to compose his works. In the middle period, he makes use of alteration of tonality and splendid ornamentation improvisation, which display more difficult techniques of performance. In the late period, his works are presented restrained and exquisite style. Mozart’s piano variations with the abundant methods of ornamentation improvisation and techniques of various playing styles expose the specific improvisatory creativity of the Classic Era, accordingly, those works emerge peerless and unique enchantment.

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Wang, Ya-Wen, and 王雅文. "PIANO VARIATIONS: Selected from Three Different Musical Styles." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/04347025337873757622.

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47

Hsu, Ya-Chu, and 許雅筑. "An Analysis and Interpretation of Andre Jolivet’s Concerto for Bassoon, Strings, Harp and Piano, 1954." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4t6zs5.

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Cheng, Su-Chuan Czerny Carl. "The piano variations of Carl Czerny : a recording project /." 2006. http://hdl.handle.net/1903/9710.

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Chung, Yu-Min, and 鍾郁敏. "The Interpretation of the Piano Work “Eroica Variations” by Ludwig van Beethoven / Yu-Min Chung Graduation Piano Recital." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/49486169841466371269.

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碩士
東吳大學
音樂學系
92
“Eroica Variations” is a masterpiece of Beethoven’s piano variation works. Actually, the main theme of “Eroica Variations” is borrowed from the finale of “Die Geschopfe des Prometheus”, which is also composed by Beethoven in 1801. During 1801 to 1803, Beethoven used the so- called “Prometheus theme” in four different works including the finale of “Die Geschopfe des Prometheus”, “Contredanse No.7”, “Eroica Variations” and the fourth movement of “Eroica Symphony”. This thesis is a study of interpretation of “Eroica Variations”. In Chapter One and Chapter Two, there are some discussions about the compositional background of “Eroica Variations” and the character of its main theme. In Chapter Three, the author analyzed and compared the writing methods of “Eroica Variations” and the fourth movement of “Eroica Symphony” to find out the similarities and differences between them. At last, the author took the results of structural analysis into performance practice, trying to show how to play “Eroica Variations” with symphonic idea. Thus, this thesis may provide as a reference to give some thoughts about the interpretation of “Eroica Variations”, in order to get closer to the composer’s original intention and its definite style. §Yu-Min Chung Graduation Piano Recital Program§ J.S.Bach Chromatic Fantasy and Fugue in D minor, BWV 903 W.A.Mozart Piano Sonata No.12 in F major, K.332 M.Ravel Sonatine F.Chopin Piano Sonata No.3 in B minor, Op.58

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Chou, I.-Ting, and 鄒宜庭. "A study of the variations in Ludwig van Beethoven piano compositions-exampled by his “Eroica Variations” in E flat major opus 35/Chou I-Ting Piano Recital." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/75qppa.

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碩士
東吳大學
音樂學系
102
Ludwig • Van• Beethoven (1770-1827) had composed numerous piano compositions which have a enormous impact on the music development, especially in the variations. All his piano compositions are all holding a deep and intimated relationship with variations. Before 1800, most of Beethoven's variations are composed for the keyboards. After 1800, Beethoven started to use the variations in all kinds of music composition. This time Beethoven began experimenting with new techniques. After 1815, variations became the most notable characteristic of the music compositions in his late ages. The technique of composing variations in Beethoven's music is very important and is a worth discussing . Therefore, I want to discuss the variations in Beethoven's piano compositions in this thesis. In the begin of this thesis, I will introduce the definition, history, types, techniques and features of the variations in Beethoven's piano compositions. Next, I will discuss about the ways that the variations be used in Beethoven's piano compositions. This discussion will be divided into four sections; The first section will focus on the themes and variation techniques in the Beethoven's early ages. Second section will be mainly discussing about piano variations in his mid-ages. In the third section, I will introduce and discuss about the piano variation composing style in Beethoven's late age. In the section four, I will do some analysis on the variations which in other kinds of music compositions. Last but not the least, I will introduce the life story of Beethoven and do a complete analysis on the style, feature and structure of variations by using “Eroica Variations” in E flat major opus 35 for example. Program: Johann Sebastian Bach：The Well–Tempered Clavier Prelude and Fugue in C minor,BWV 847 Ludwig van Beethoven：“Eroica Variations” in E flat major,Op.35 Franz Schubert：Piano Sonata in a minor,op.42,D 845 York Bowen：Toccata,op.155

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