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Dissertations / Theses on the topic 'WILLIAM BOLCOM'

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Published: 4 June 2021

Last updated: 16 February 2022

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1

Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).

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2

Baldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.

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3

Baldwin, Philip Richard. "An analysis of three violin sonatas by William Bolcom /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933245537883.

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4

Bateman, Marlene Titus. "The Cabaret songs, volume one, of William Bolcom and Arnold Weinstein : an exploration and analysis /." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008241.

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5

Hwang, Mi Kyung. "ELEMENTS OF JAZZ STYLE IN TWENTIETH-CENTURY AMERICAN ORGAN WORKS: SELECTED WORKS OF CHARLES IVES, WILLIAM ALBRIGHT, AND WILLIAM BOLCOM." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/196128.

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Jazz is a distinctive stylistic influence in twentieth-century American organ music. Organ music in the United States during this period may be classified into four diverse categories: German-influenced; French-influenced; program music; and new styles that include twentieth-century techniques, such as serialism, chance (aleatoric), atonality, and jazz. The organ is an ideal instrument for jazz performance since the organ can provide diverse timbres, such as reeds (clarinets, trumpets, and trombones), strings (violin, viola, and cello), and overtone-rich sounds from mutations and mixtures.This document presents an analysis of jazz elements in twentieth-century American organ works, especially focused on the following selected organ works: Charles Ives' Variations on "America" (1891), William Albright's Sweet Sixteenths: Concert Rag for Organ (1975), and William Bolcom's Sometimes I Feel, and Free Fantasia on "O Zion Haste" and "How Firm a Foundation" from Gospel Preludes, Book IV (1984). The first chapter introduces jazz, including its definition, historical background, and styles. The next four chapters discuss brief biographical material, musical styles, compositions of each composer, and comprehensive musical analysis of their selected organ works, including form, melody, harmony, rhythm, timbre, and registration.

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6

YU, YEUNG. "A Style Analysis of William Bolcom’s Complete Rags for Piano." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1177096593.

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7

Jantsch, Nancy E. Jennings. "\"Briefly It Enters\" : a song cycle by William Bolcom from poems by Jane Kenyon." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978614.

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8

LIM, TZE YEAN. "WORKS FOR VIOLIN AND PIANO BY WILLIAM BOLCOM: A STUDY IN THE DEVELOPEMENT OF HIS MUSICAL STYLE." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1022593829.

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9

Lee, Ji Sun. "Revolutionary etudes: The expansion of piano technique exploited in the Twelve New Etudes of William Bolcom." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280375.

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The first etudes, written in the seventeenth century, were study pieces created for the development of a particular aspect of performing technique. Chopin and Liszt are acknowledged to be the major figures in the later development of the concert etude. These contain not only the expected studies of various matters of technique but also deal with musicianship, including cantabile playing and the projection of the composer's poetic intentions. William Bolcom's Twelve New Etudes, like those of Chopin, are studies in style synthesis as well as in pianism. The uniqueness of these two composers' etudes consist in combining the technical innovations of their contemporaries and mixing their "classical" style with lighter elements, including programmatic ideas and bel canto style. This document will consist of a discussion of twentieth-century piano techniques utilized in each of Bolcom's Twelve New Etudes and also a discussion of how these techniques and compositional styles enhance the poetic quality of these works. This will be preceded by a brief history of the development of the concert etude, a discussion of the Chopin Etudes and the poetic elements of Debussy's Preludes , and other important influences on Bolcom's works. In addition, some parallels and contrasts will be drawn between the Bolcom etudes and those of Chopin.

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10

Kang, Eun Young. "Late Twentieth-Century Piano Concert Etudes: A Style Study." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169360.

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11

Grumet, Amanda Jocelyn. "The elusive cabaret song: The marriage of classical and popular styles in the Cabaret Songs of William Bolcom and Arnold Weinstein." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290696.

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The Cabaret Songs of William Bolcom and Arnold Weinstein merge characteristics of European cabaret song and art song with characteristics of American popular song to create a modern American form of cabaret song which generates a complete theatrical characterization in each piece. Aspects of European cabaret song evident in these songs include satire, parody, and directness and intimacy of presentation. Independence of the piano, partnership of the piano and voice, and effective word setting and word painting are qualities identified with European art song which appear in these Cabaret Songs. Elements of American popular song woven into these works include jazz figurations, quasi-improvisatory sections, musical theater style, and the presence of complete theater "scenes" in each piece. These songs are derived from a multiplicity of styles which have become part of the American vernacular and run the gamut from Negro spiritual to pachanga. These Cabaret Songs provide the classically trained singer with the opportunity to experience and perform in a popular idiom. William Bolcom's writing demonstrates his fluid integration of diverse musical styles which reflect the richness of the mosaic which is the United States of America.

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12

Lee, Grace E. "Pedagogy and Artistry in Select Twentieth-Century Piano Etudes." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595845987466583.

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13

Yu, Yeung. "A style analysis of William Bolcom's complete rags for piano." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1177096593.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Title from electronic thesis title page (viewed Jul.16, 2007). Includes abstract. Keywords: William Bolcom; rags for piano; style analysis Includes bibliographical references.

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14

Kanitz, Amarildo Felipe. "O Parque Tecnológico da Grande Florianópolis-SC - PARQTEC-Alfa :: a aplicação do modelo Willian Bolton na sua organização /." Florianópolis, SC, 1999. http://repositorio.ufsc.br/xmlui/handle/123456789/80576.

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Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas.
Made available in DSpace on 2012-10-18T16:17:24Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-09T02:09:01Z : No. of bitstreams: 1 142113.pdf: 7945344 bytes, checksum: a336359e2439094313f408ac61996f68 (MD5)

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15

Chang, Wen-Hsin, and 張文馨. "The Interpretation of William Bolcom Clarinet Concerto." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/xtx895.

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16

HUANG, PAO-HSUAN, and 黃寶萱. "A Study of Cabaret Songs, Vol. 1 by William Bolcom." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/upqfmu.

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碩士
輔仁大學
音樂學系
107
In the twentieth century, the combination of traditional music materials and modern elements has become the main trend of today's music. William Bolcom (b. 1938) is one of the most important contemporary American composers. 　　 William Bolcom had completed Cabaret Songs Volume 1 & 2 and from 1979 to 1985 published Cabaret Songs Volume 3 & 4 in 1997. 　　 In 1880, Night club activities began to prevail at Paris. Artists from the avant-garde communities had gathered mostly in pubs or cafes, called “Cabaret”. This culture was spread to the United States in 1911, with the vicissitudes of history and people love and dissemination, and Bolcom was one of many American classical and jazz musicians inspired by this culture. 　　 This Thesis mainly discusses the research and interpretation of Cabaret Songs volume 1, and also introduces the life and creative style of William Bolcom. Divided into five chapters: the first chapter of the introduction, including the purpose and scope of research. The second chapter is William Bolcom's life narration and works style. The third chapter is the biography and writing techniques of poet Arnold Weinstein (1940-2005). The fourth chapter is the summary of cabaret and the research and interpretation of Bolcom’s Cabaret Songs Volume 1. The fifth chapter is the conclusion, the study of Cabaret Songs, for the reference of the researcher.

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17

Crane, Emily Hanna Kowalsky Frank Bolcom William. "A performer's approach to William Bolcom's Concerto in D for violin and orchestra." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-04032007-235850/.

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Treatise (D.M.A.) Florida State University, 2007.
Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-21-2007). Document formatted into pages; contains 92 pages. Includes biographical sketch. Includes bibliographical references.

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18

"William Bolcom's 3 Ghost Rags: An Orchestration for Chamber Ensemble with Commentary on the History and Propagation of Ragtime." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17821.

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abstract: The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the ragtime revival of the 1960's and 1970's. Through his influence as a scholar, composer, and performer, Bolcom (b. 1938), one of the most prominent American composers of his generation, helped garner respect for ragtime as art music and as one of America's great popular music genres. Bolcom's 3 Ghost Rags were written in the tradition of classic piano rags, but with a compositional sensibility that is influenced by the fifty years that separate them from the close of the original ragtime era. The basis for the present orchestrations of 3 Ghost Rags is the collection of instrumental arrangements of piano rags published by Stark Publishing Co., entitled Standard High-Class Rags. More familiarly known as the "Red Back Book," this publication was representative of the exchange of repertoire between piano and ensembles and served as a repertory for the various ragtime revivals that occurred later in the twentieth century. In creating these orchestrations of Bolcom's piano rags, the author strove to provide another medium in which Bolcom's music could be performed, while orchestrating the music for an historically appropriate ensemble.
Dissertation/Thesis
D.M.A. Music 2013

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19

Kang, Eunice. "A survey of the solo and chamber works for cello composed by William Bolcom." 2003. http://purl.galileo.usg.edu/uga%5Fetd/kang%5Feunice%5Fm%5F200305%5Fdma.

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20

Bateman, Marlene Titus 1951. "The Cabaret songs, volume one, of William Bolcom and Arnold Weinstein : an exploration and analysis." 2001. http://hdl.handle.net/2152/12835.

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21

"A Stylistic Survey and Performance Guide of Three Popular Rags and Three Rags, Composed after 2008 by William Bolcom." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57314.

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abstract: This research paper will examine William Bolcom’s compositional style and performance challenges related to Three Popular Rags (1967-1968), Knockout: A Rag (2008), Estela: Rag Latino (2010), and Contentment - A Rag (2015). The aim is to reveal some of his contributions to the revival and expansion of ragtime. The paper includes a brief background on William Bolcom and a history of ragtime music. Differences between the compositional styles of Scott Joplin and Bolcom are discussed through descriptive analysis, focusing on musical forms, rhythms, harmonies, and textures. The performance suggestions include elements of dynamics, articulation, extended piano techniques, and pedal use. The author hopes that this stylistic analysis and performance guide will further interest in Bolcom’s piano ragtime music.
Dissertation/Thesis
Doctoral Dissertation Music 2020

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22

CHIU, LIN-YUN, and 邱琳云. "A Study of Recuerdos: Three Traditional Latin-American Dances for Two Pianos by William Bolcom." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/feh3xt.

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23

Yu, Yung-ching, and 游詠晴. "The Research of William Bolcom''s Recuerdos – Three Traditional Latin-American Dances for Two Pianos." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/msw246.

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碩士
國立中山大學
音樂學系研究所
96
Combining traditional source and modern technique in musical composition has become one of the major trends in the contemporary music development. William Bolcom (1938- ) is an important composer in the 20th century, who followed this trend to compose the two-piano work Recuerdos – Three Traditional Latin-American Dances for Two Pianos (1991). Inspired by characteristics of traditional Latin American dance, Bolcom employed the elements of the Latin American music as the structural foundation. In each of the three movements, Bolcom has tried to recall the stylistic features of the folk music in Brazil, Argentina, and Venezuela, as well as musical languages of Ernesto Nazareth (1863-1934), Louis Moreau Gottschalk (1829-1869), Ramón Delgado Palacios (1863-1902). Bolcom uses a lot of Latin America music materials in Recuerdos, and also applied contemporary compositional technique to this work, such as polytonality, serialism, collage, etc. Chapter One in this paper will introduce Bolcom’s life background and musical composition experience, and the special characteristics of his five two-piano works. Chapter Two contains the historical background of Recuerdos, mainly discussing musical styles of three countries and three composers which Bolcom wanted to evoke in this composition. Chapter Three includes the compositional manners of Choro, Paseo, and Valse Venezolano, and researches how Bolcom intergrating diverse musical materials and still creating the unity among three movements.

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24

Lee, Hyun-Soon. "William Bolcom's piano concerto (1975-1976)." 1992. http://catalog.hathitrust.org/api/volumes/oclc/28704847.html.

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1992.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 120-125).

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25

Chuang, Ya-Chun, and 莊雅鈞. "An Analysis of William Bolcom’s Nine Bagatelles." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/99s9bn.

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碩士
國立高雄師範大學
音樂學系
103
William Bolcom is a contemporary, distinguished American composer, pianist, and writer. During his career, he has written numerous and sizeable compositions. This thesis will focus primarily on his piano work, Nine Bagatelles, which was commissioned for the 10th Van Cliburn International Piano Competition. Various styles coexist within this piece, among which are Debussy’s compositional techniques and Chopin’s Mazurka, as well as 20th-century compositional methods, such as Collage, Quotation and Tone-cluster. Moreover, Bolcom employed both contrast and conjunction between each bagatelle and compositional materials for organizational purposes. To create dramatic contrast, Bolcom utilized several intervals, scales and rhythms to transform motives, representing different dynamics, ranges and textures. Concurrently, Bolcom employed the same intervals and scale materials to maintain unity between the bagatelles. Thus, the bagatelles not merely exhibit diverse styles, but are also organized within an integral whole. The research is divided into four chapters. The first is the introduction, which includes the purposes, research scope and historical document of the topic. The second chapter details an overview of his compositional career, in which I will portray his life and compositional style. The third chapter is the analysis of Nine Bagatelles, which discusses the motives, scale materials and structure of each bagatelle, exploring how Bolcom integrated diverse musical materials in Nine Bagatelles. The final chapter is the conclusion.

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26

"An exploration and analysis of William Bolcom's "Black Host"." Thesis, 2009. http://hdl.handle.net/1911/61848.

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Black Host, a work for organ, percussion, and electronic tape, is essentially a dramatic work. The main characters of the drama are two hymn tunes, the Dies Irae and Donne Secours, whose struggle for predominance direct the course of the work. The texts associated with these tunes imply a tension between fear and hope, especially when seen in reference to the title of the work "Black Host." While the focus of the Dies Irae melody is on the interval of a minor third, Donne Secours centers around a major third. Deeper analysis, however, shows that although the hymn melodies have different personalities, they derive from the same dorian mode and are essentially part of one entity. By the end of the work it is clear that these two distinct emotions and motives can exist side by side. The work is couched in eclectic musical language, a combination of styles, genres and gestures drawn from both the Western art music tradition and American popular music. Despite the seemingly unrelated blocks of sound, the work has a flow and a unity that belies its contrasts.

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27

Cho, Kuang Yu, and 卓光煜. "Analysis and Interpretation on William Bolcom’s “The Garden of Eden”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/k55326.

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碩士
國立臺灣藝術大學
音樂學系
102
William Bolcom（1938- ）are the significant composers who devoted to the revival of Ragtime from 1967 to 1975. The suite “The Garden of Eden”（1969）were composed during this time which not only used the traditional harmonic system of the European classical music, but also combined American traditional Ragtime, Jazz and Blues elements such as rhythm, scales or special notes. Through analyzing “The Garden of Eden” we could figure out how the composer fuse variant musical elements to exapand the range between classical music and popular music, further more to indicate precise interpretation for this kind of music style. The thesis is divided into six chapters: Chapter one is outline of the research’ objectives and motivation. Chapter two discusses on Bolcom’s background, music education and achievement also discusses the Ragtime from music historical viewpoints to present it’s development and variant styles. Chapter three analyzing each piece of the suite, concentrate on music background, form, texture and characteristics to understand Bolcom’s compositional techniques. Chapter four compares the solo version with two pianos version , though these two versions published at same year but the two pianos version has more performance details that offer more precise interpretation viewpoints. Chapter five discusses the interpretation of the suite based on the previous chapter’s analysis. Chapter six is the conclusion of the research based on the study results and fulfillment of the whole thesis.

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28

Chen, Chia-Ju, and 陳佳汝. "A Research and Interpretation of William Bolcom’s Three Ghost Rags for Piano/ Chia-Ju Chen Graduate Recital." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/bug8z9.

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碩士
東吳大學
音樂學系
102
Ragtime, as a musical genre, enjoyed its first popularity peak as early as 1890s. Its role in American major popular music was gradually replaced by jazz. Not many musical genres experienced its revival as ragtime did, which took place between the 1950s and 1970s. During that period of time, some significant ragtime composers emerged, one of the most important being William Bolcom (b. 1938- ). In the following pages, the Three Ghost Rags by William Bolcom will be analyzed regarding its form and development of themes. In addition, I will explore both aspects of the composer, as well as the origin and development of ragtime. I hope that this dissertation will serves as a useful reference for anyone interested in ragtime or William Bolcom. 　　This dissertation consists of four chapters. Chapter 1 contains a brief biography of composer William Bolcom. Chapter 2 focuses on the origin and revival of ragtime. In Chapter 3, an analysis and interpretation of Three Ghost Rags is presented. Finally, chapter 4 offers a conclusion. Graduate Recital Program: Ludwig van Beethoven (1770-1827): Piano Sonata No.28 in A major, Op. 101 I. Etwas lebhaft und mit der innigsten Empfindung. (Allegretto, ma non troppo) II. Lebhaft. Marschmäßig.(Vivace alla marcia) III. Langsam und sehnsuchtsvoll. (Adagio, ma non troppo, con affetto) IV. Geschwind, doch nicht zu sehr, und mit Entschlossenheit.(Allegro) Robert Schumann (1810-1856): Papillons Op.2 Claude Debussy (1862-1918): Images II Cloches à travers les Feuilles Et la Lune descend sur le Tample qui fut Poissons d'or William Bolcom (b. 1938-): Three Ghost Rags Graceful Ghost Rag The Poltergeist Dream Shadows

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