Tesis: "Piano with orchestra"

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Prall, Mark M. "Fantasy for piano and orchestra /". Online access, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=363&CISOBOX=1&REC=4.

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2

McGinn, John. "Rolodex : for piano and orchestra /". May be available electronically:, 1999. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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D.M.A. Final project--Department of Music, Stanford University, 1999.
"The solo pianist must perform on a concert grand Yamaha Disklavier. The piano part is executed normally until m. 308, at which point the performer calls up a MIDI sequence ... to be executed by the instrument. The pianist re-enters in m. 408 and plays normally until the end. A floppy disk containing the MIDI sequence is available from the composer"--P. [1].

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3

Plylar, David. "Reliquary : for piano and orchestra /". Digitized version, 2008. http://hdl.handle.net/1802/7671.

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Thesis (Ph. D.)--University of Rochester, 2008.
Duration: ca. 45:00. Includes program and performance notes. Accompanied by: The dynamic contextual nexus and the composition of self : Franz Liszt's Trois odes funèbres : a case study in intertextuality / by David Henning Plylar (viii, 196 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7671

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4

Stark, Bradley. "Seraph for piano and string orchestra". Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44148.

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Seraph is a fifteen minute composition for piano and string orchestra. In addition to traditional musical techniques such as variation and passacaglia, the work employs a distinctive approach to phrase structure, form, harmony, and compositional technique. An ascending natural minor scale serves as the main theme while other melodies, textures, harmonies, and motives interact in counterpoint with the theme. In addition, the theme undergoes its own developmental transformations and modifications, and it influences a distinctive harmonic language featuring extended, non-traditional chords and progressions that rarely repeat. Musical phrases and secondary melodies are unusual in length and mostly avoid expectations of cadence, while metric instability occurs through frequent meter changes. In addition to variation technique, the musical structure features episodes that contrast in compositional design through the development of less prominent motives and differences in approach to harmony. The piano part was partly composed through the use of transcribed improvisation, which serves as a basis for the harmonic and motivic structures heard throughout the composition. The piano part also features complex rhythmic divisions and technical demands for the performer while interacting with the orchestra in a variety of textures. As a whole, the work possesses several features which contribute to an original style and aesthetic.

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5

Gorby, Roderick. "A concerto for piano and orchestra". Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705818.

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A Concerto for Piano and Orchestra is a work of absolute music, which draws on the traditional three-movement concerto form of the classical and romantic tradition and includes a solo piano cadenza toward the end of the last movement. Harmonically, I make free use of the major, minor and augmented triads, and draw from diatonic, hexatonic, octatonic and other altered modes. My orchestration is influenced by Debussy, Ravel and Stravinsky, and my piano writing is influenced by J.S. Bach, Chopin, Liszt, Grieg, Prokofiev, Bartok as well as stylistic elements characteristic of Chick Corea especially as found in his Concerto No. 1.

The first movement is monothematic. The theme's first appearance utilizes the full orchestra and is then taken up by the soloist. The orchestra then spins out a "satirical" variation of the original theme. This section builds to a climax and is followed by a "chaotic" reaction from the orchestra, after which follows a tranquil section in the Dorian mode, where the theme is transformed into a slow, lyrical character. This modal variation yields to a more bitonal harmonic language, ushering in the development section. A recapitulation and coda close the first movement.

The second movement opens with solo piano performing an ornamented scale melody. The rhythmic motives and shapes of this melody are then taken up into selected colors of the orchestra and varied. The piano returns with the original material leading to a more substantial appearance of the orchestra, after which there is a "quasi-cadenza" section for the piano. The calm end of this movement features the piano, low strings, low brass, and a bassoon solo.

The third movement is a rondo, AA₁ABACA with an extensive cadenza for the piano between the C and A sections followed by a coda. It opens with percussive rhythmic figures in the piano, which are then passed to the strings in pizzicato. Over the string pizzicato, a transformation of the first movement's theme appears in polyphony across the orchestra while the piano and xylophone provide sparse commentary. The B section features the percussion instruments followed by the jazz-influenced piano passages. In the C section, the piano, strings and high woodwinds, reveal nostalgic hints of Grieg and Rachmaninoff. An orchestral tutti builds to a climax just before the cadenza, after which a short A section and coda complete the work.

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6

Ahn-Kim, Yong Hee. "Rhapsody for piano and small orchestra". Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/ahn-kim%5Fyong%5Fhee/index.htm.

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Thesis (M.M.)--University of North Texas, 2001.
For piano and chamber orchestra (flute, oboe, clarinet, bassoon, trumpet, timpani and strings). Duration: ca. 9:00. Includes bibliographical references (p. xxxviii).

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7

Cohen, Marcos Jacob Costa. "Suite for piano and chamber orchestra /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422346.

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8

Gregorio, Joseph. "Concerto for Piano and Orchestra - Gregorio". Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/540484.

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Music Composition
D.M.A.
This dissertation comprises two parts: an original composition, Concerto for Piano and Orchestra; and an essay that analyzes the form of Prokofiev’s Piano Concerto No. 1 in D-flat Major, op. 10. Concerto for Piano and Orchestra is cast in three movements and scored in two versions: In “Version A,” members of the orchestra are at times called on to use their voices to sustain the phonemes [m], [ŋ], and [v] on pitch and to create an intense whisper on the vowel [æ]. “Version B” is an alternative realization that uses instruments only. The first movement, unable to produce a recapitulation and continually interrupted at decreasing intervals of time by increasingly intense outbursts from percussion, brass, and wind instruments, is an extreme deformation of a sonata-concerto form. It proceeds attacca to the second movement, which is built in a large ternary form. The third movement is a concerto adaptation of James Hepokoski and Warren Darcy’s “expanded Type 1” sonata form. The concerto’s total duration is approximately 30 minutes. The essay considers the form of Prokofiev’s Piano Concerto No. 1 from the perspective of Hepokoski and Darcy’s Sonata Theory, as laid out in their seminal 2006 treatise. It finds that Prokofiev’s Piano Concerto No. 1 is a highly individualized instance of Hepokoski and Darcy’s “Type 3” sonata form with introduction-coda frame. The essay’s analysis is preceded by a glimpse at Prokofiev’s experiences with sonata form during his youth, as well as brief reviews of the conceptual backdrop of concerto form as Prokofiev would have received it and of the basics of Sonata Theory.

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9

Picton, Michael. "Curio shop, concerto for piano and chamber orchestra". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29856.pdf.

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10

Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction". Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).

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11

Ferguson, Sean. "Concerto for piano and orchestra : "Inside passage"". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37726.

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the score of this work.
Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my use of contour theory. Part II of the first volume illustrates these techniques through an analysis of the Concerto for Piano and Orchestra. The main topics of this analysis are the creation of background harmonic regions based on high pitch commonality to a referential sonority, and the integration of a basic shape or contour into all parameters and structural levels of the music.
Volume two is the full score of the Concerto for Piano and Orchestra. This work has a duration of 23 minutes. It is scored for solo piano and a small orchestra consisting of flute (doubling on piccolo), oboe, B-flat clarinet, bassoon, horn in F, trumpet in C, trombone, two percussion and strings (44332). The Concerto is divided into four movements, played without pause, and two brief opening and closing sections.

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12

Grogan, Charles Benjamin. "After the Fire for Piano and Orchestra". Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195930.

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After the Fire for Piano and Orchestra is musical composition of approximately 14 minutes in length. Many compositions of the 20th century feature experimentation with new patterns in musical language, the serial pitch structures of Schoenberg being particularly influential on later composers. As pitch language has become increasingly chromatic, composers are faced with the problem of organizing their compositions in a way that is intelligible to the listener. After the Fire for Piano and Orchestra is constructed using simple organizational elements to maintain continuity but still provide sufficient diversity in order to avoid the dense chromatic sameness found in many serialist and post-serialist works. Attention to every level of structure is necessary to create a well-designed composition. At the smallest level of the composition, motives are constructed out of the basic materials of the interval of a seventh and the octatonic scale and then those motives are transformed to create a variety of materials. At the middle level of structure phrases and phrase groups are constructed from the material created from the motives. However, the nature of the material at places sometimes makes it more suitable for a continuous type of construction such as fugal development or cadenza-like passages. At the largest level of structure further techniques of contrast are used to form the overall shape of the work. This contrast is made possible through the transformation of the motives into a variety of forms, yet the roots of the materials are the two basic elements of the interval of a seventh and the octatonic scale. The variety within the composition provides continual interest while the continuity ensures that the composition works together as a whole rather than as a sequence of loosely-connected episodes.

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13

Picton, Michael. "Curio shop : concerto for piano and chamber orchestra". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27481.

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v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)
Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.
It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topics include the use of tonality in the work, the variation techniques used in composing the interludes, and a discussion of compositional procedures used in a single movement along with examples of their application in other movements.

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14

Waseen, Symeon L. "Concerto for piano and orchestra homage to W.A. Mozart /". Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1124224335.

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15

Krause, Benjamin A. 1985. "Everything that Rises Must Converge: For Piano and Orchestra". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10734.

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1 score (ix, 83 p.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Everything That Rises Must Converge is a work for piano and orchestra in one movement. It is structured in three main sections preceded by an introduction, which resembles a traditional three-movement concerto reduced to one movement. Since all of the sections explore a common musical thread, it has a feeling of "stream-ofconsciousness" and free association that suggest genres such as the rhapsody and symphonic tone poem. The thematic motto that begins the piece returns only at points of important formal delineations and is not presented by the piano itself until the work's final moments. The composition also utilizes a foreshadowing technique wherein secondary material in one section is revealed as primary in later sections. The piece is titled after a short story by Flannery O'Connor and reflects its evocative imagery through the frequent use of ascending gestures as well as its final convergence of thematic ideas and musical forces.
Committee in Charge: Dr. Robert Kyr, Chair; Dr. David Crumb; Dr. Jack Boss

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16

Kim, Min. "A study of Franz Liszt's Totentanz piano and orchestra version, and piano solo version /". Lecture recital, recorded July 20, 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-5409.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded July 9, 2001, Nov. 18, 2002, and Jan. 24, 2005, and July 20, 2006. Includes bibliographical references and discography (p. 32-34).

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17

Kim, Min. "A study of Franz Liszt's Totentanz: Piano and orchestra version, and piano solo version". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5409/.

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Undoubtedly, Totentanz has been one of the most famous works by Franz Liszt. Totentanz has been recorded by many pianists and addressed in much of the vast literature about Liszt and his works; however, little research has been focused on this work. Most studies of Totentanz address only the historical background of the piece in relation to the theme based on Dies irae. Currently, there are no specific studies about the solo piano or two piano versions and only one recording was located. Liszt's own piano solo transcription of this famous work is an excellent addition to the concert repertoire. Totentanz consists of six variations that include canonic and fugato sections. The main theme is based on the Gregorian chant Dies irae, a melody that has been used by many other composers, most notably Berlioz in Witches Sabbath of Symphonie fantastique, op. 14 and Rachmaninoff in Rhapsody on a Theme of Paganini. This study contains five chapters. Chapters I and II provide background information, historical background and influences of Totentanz. Chapter III presents an outline of Liszt's achievement as a transcriber. Liszt revised his own works numerous times from the 1840s and 1850s, including Transcendental Etudes, Paganini Etudes, and piano and orchestra works. Like in the case of Totentanz, transcribed form piano and orchestra into piano solo, Liszt transcribed and paraphrased hundreds of other composers' works as well. Chapter IV discusses and compares the two main versions for solo piano and piano and orchestra. Form and harmonic language in particular the use of tritone in Totentanz is discussed. The adjustment required in transcribing the work for piano solo is discussed in detail, followed by a conclusion.

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Waseen, Symeon L. "Concerto for Piano and Orchestra: Homage to W. A Mozart". Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124224335.

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19

Thompson, Joshua Ketring. "Libby Larsen's Concerto for Trumpet and Orchestra: an overview and reduction of the orchestral score for trumpet and piano". Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1093.

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Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, orchestral and academic communities by way of providing an historical account of the commission project; showing insight into the composer's inspiration for the work; and providing a reduction of the orchestral score for trumpet and piano.

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20

Choi, Da Jeong. "Dream of a Thousand Keys: A Concerto for Piano and Orchestra". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc67968/.

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Dream of a Thousand Keys is a concerto for piano and orchestra, which consists of four movements presenting multiple dimensional meanings as suggested by the word "key." I trace the derivation of Korean traditional rhythmic cycles and numerical sequences, such as the Fibonacci series, that are used throughout the work, and explore the significant role of space between the soloist and piano that are emphasized in a theatrical aspect of the composition. The essay addresses the question of musical contrasts, similarities, and metamorphosis. Lastly, I cover terms and concepts of significant 21st-century compositional techniques that come into play in the analysis of this work.

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21

Delespaul, Caroline. "Le piano-orchestral en France entre 1835 et 1849 : une écoute de l'oeuvre pianistique". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2087.

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En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orchestrale » dans l’œuvre pianistique et naît alors l’idée d’un piano-orchestral. L’enjeu principal de cette thèse sera de tenter de définir le piano-orchestral français à travers un travail lié à la réception. Nous faisons en effet l’hypothèse que certaines œuvres pour piano ou certains éléments de celles-ci invitent l’auditeur à effectuer un transfert d’idées entre le piano et l’orchestre ou à reconnaître l’ensemble symphonique au clavier. Le piano-orchestral serait alors une écoute de l’œuvre pianistique. En tant que phénomène lié à laréception de l’œuvre, le piano-orchestral appartient au domaine de la verbalisation de la musique et nous avons donc choisi de l’étudier à travers le prisme du discours musical. Notre ambition étant de définir le piano-orchestral, nous avons décidéd’interroger son élaboration et ses fondements en nous concentrant sur ses prémices. Notre recherche s’étendra donc de 1835 à 1849 ; une période correspondant à la reconnaissance de l’idée jusqu’au début de sa remise en question
In France, the idea of an orchestral piano was born during the first half of the 19th century. Since the early decades, many commentators recognized in the keyboard instrument the ability to reproduce the orchestra by itself and the writingsestablished a close relationship between the piano and the orchestra. In the collective unconscious, the piano soon became a "complete small orchestra" as the use of this qualifier as a common reference shows. In the shadow of this thought, the idea of including an “orchestral figure“ into the pianistic work was developed and thus the idea of an orchestral piano. The main challenge of this thesis will be to attempt to define the French orchestral piano through the study of its reception. Indeed, we hypothesise that some works for piano or some parts of them invite the listener to make a transfer of ideas between the piano and the orchestra or to recognize the orchestra on the keyboard. The orchestral piano would then be a listening to the pianistic work. As a phenomenon related to the reception of the work, the orchestral piano belongs to the domain of the verbalization of music and we therefore chose to study it through the prism of musical speech. Our ambition being to define the orchestral piano, we decided to question its elaboration and its foundations by focusing on its infancy. Our research will consequently extend from 1835 to 1849, a period corresponding to the recognition of the idea until the beginning of it being brought into question

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22

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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Grant, John Ward. "Folio of compositions and critical commentary /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.

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Marshall, Eldred. "Conducting from the Piano? A Tradition Worth Reviving?" Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157619/.

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Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.

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Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.

The exam concert is archived for copyright reasons until 2023.

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Carson, Benjamin Leeds. "The self and its pleasures : a collection of music for piano and music for orchestra /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3013702.

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27

Strohschein, Aura. "A performer's guide to Jody Nagel's "Concerto in B for piano and orchestra."". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5649.

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Jody Nagel completed his first piano concerto in 2005. I will discuss technical challenges within the piece and practice techniques to overcome these challenges so that one can perform the work successfully. I cover fingering, pedaling, texture, character, and harmonic issues. I also give performance advice to make the orchestral reduction more pianistic while still honoring the orchestra’s influence within the work.

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Lee, Jung-Eun. "Aspects of piano performance : stylistic analysis of the concerto in D, op. 13, for piano and orchestra by Benjamin Britton". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1354643.

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The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of Britten's life, accomplishments as a pianist, and his contribution to the piano repertoire in general. The third chapter provided a stylistic analysis on each movement of the concerto. It included structural analysis based on the formal, motivic, thematic, rhythmic, melodic and harmonic elements presented throughout the concerto. Additionally, possible technical challenges and suggestions for practice methods were recommended based on the issues of phrasings, articulations, dynamics, musical expressions and styles. Since each movement has its own unique titles such as Toccata, Waltz, Impromptu, and March, the origins of the genre and Britten's association with the terminology was also examined.The dissertation not only underlined the importance of Britten as a composer for the piano, it also revealed his distinct compositional characteristics shown in the piano concerto in relation to his other significant piano repertoire. The dissertation closed with a summary of the detailed analysis of the concerto and recommended further studies on Britten and his piano concerto.
School of Music

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29

Kosmyna, David. "Dippermouth for the Centennial of the birth of Louis Armstrong /". Ohio : Ohio University, 2001. http://www.ohiolink.edu/etd/view.cgi?ohiou997193176.

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30

Boutwell, Brett N. ""Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2260/.

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John Cages Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composers oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cages "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cages compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composers manuscript materials for the work.

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31

Zhuang, Yuan. "A Performance Guide to Cécile Chaminade's "Concertstück for Piano and Orchestra," Op. 40". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707231/.

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Cécile Chaminade (1857-1944) was a remarkably successful French composer and pianist for a woman in the early part of her career, although her reputation waned rapidly after her death. Concertstück (1888), a single movement for piano and orchestra, was her only work in this medium. It requires many traditional piano skills and therefore can serve admirably as a comprehensive technical and artistic study. This dissertation includes a formal analysis of this piece, a discussion of each type of specific piano technique it requires, and practice suggestions.

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32

Rivest, Johanne. "Le Concert for Piano and Orchestra de John Cage, ou, Les limites de l'indétermination". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21507.pdf.

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Vázquez, Carlos Balam. "Manuel M. Ponce a critical study of his Concierto romántico for piano and orchestra /". connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3909.

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Vázquez, Carlos Balam. "Manuel M. Ponce: A critical study of his Concierto Romántico for piano and orchestra". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3909/.

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The Concierto Romántico for Piano and Orchestra is one of Manuel M. Ponce's outstanding compositional accomplishments from his Romantic period, reflecting both the state of Mexican music at the turn of the 20th century, and his early nationalist tendencies. However, it remains the only concerto in Ponce's output in need of a more comprehensive analysis. This treatise focuses on a global investigative that examines descriptive and analytic references to the work, as well as a comparison and clarification of the existing score sources. An analytical and stylistic musical study using conventional theoretical techniques leads to a musicological interpretation of the work's extra-musical meaning, based on close assessments of Ponce's compositional practice and social principles.

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35

Lim, Rira. "A Comparison of Ferruccio Busoni's Two Original Piano Compositions, Indianische Fantasie for Piano and Orchestra, Op.44, and Indianisches Tagebuch Book I". Thesis, connect to online resource. Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus. Recital, recorded Oct. 23, 2006, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/permalink/meta-dc-9924.

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Correia, João Eduardo de Jesus. "Mozart and the language of contrast : a study of four early piano concertos". Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1006863.

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Kaminsky, Eugene. "Schumann's Op. 14: original, revised and edited ("Concerto without Orchestra" versus Piano Sonata No. 3)". Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1141250647.

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Ryan, Shaun Paul. "A critical appraisal of George Gershwin's musical language in the works for piano with orchestra". Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394044.

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Kaminsky, Eugene. "Schumann’s Op. 14: Original, Revised and Edited (“Concerto Without Orchestra” versus Piano Sonata No. 3)". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1141250647.

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Leitão, Simone Azevedo. "Heitor Villa-Lobos's Mômoprecóce Fantasy for Piano and Orchestra (1919-1929): An Historical, Stylistic, and Interpretative Study". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/328.

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The life and works of the Brazilian composer Heitor Villa-Lobos (1887-1959) have been well documented. However, a comprehensive study concerning any of his nine works for piano and orchestra has not been undertaken. Among this prolific output, the Mômoprecóce, fantasie pour piano et orchestra, stands as a faithful representation of the composer's skillful orchestration, descriptive piano writing through the observation of a childhood universe, and his multi-faceted approach to nationalism. The fantasy is a through-composed arrangement of a previous solo piano suite by Villa-Lobos entitled, Carnaval das crianças brasileiras (Brazilian Children's Carnival, 1919). This research aims to investigate the historic, stylistic, and interpretative aspects of Mômoprecóce, while discussing the composer's unique usage of the piano through his innovative compositional techniques and comparison of the fantasy with his original solo piano suite. Current literature in English, Portuguese and French is thoroughly examined, discussed, evaluated, and cited. In addition I provide a formal analysis, an interpretative guide, and a sociological perspective into Brazilian carnival, as specifically applied to the performance of Mômoprecóce.

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41

Chang, Hsiao-Ling. "Lowell Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12: An Historical and Analytical Study". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30426/.

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Lowell Liebermann, born in New York City in 1961, is one of America's most distinguished living composers. In addition, he often conducts and performs as pianist in his own works. His musical language is unique and unmistakably rooted in the grand tradition of Western music; however, his style combines old and new, simple and complex, emotional and intellectual aspects. It combines tuneful, catchy melodies with a rich harmonic language, all framed by a strong formal design. This study begins with presenting primary information on this concerto excerpted from an interview with Lowell Liebermann. This interview served as a reference for subsequent sections, and a transcript of the interview is appended to the end of this study. In the third chapter, the musical language of the composer is discussed. Chapters four and five constitute the main body of this dissertation. The goal of these two chapters is to understand the basic three-pitch motive of the work, to demonstrate how it operates at various levels, and to see how the raw material corresponds at a larger structure level. It is the author's hope that this study will guide performers to better understand Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12.

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42

Liu, Louise Jiayin. "Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovskys Piano Concerto No.1". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3648/.

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This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.

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43

Delport, Wilhelm H. "Philip Glass's Tirol Concerto for piano and orchestra (2000): a compositional analysis of the Second Movement". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/17430.

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Includes bibliographical references
Philip Glass is best known for his role in the establishment of the 1960s minimalist movement, which was characterised by an extensive reduction of musical means. Since the mid-1970s, the composer has adopted a richer, more complex musical language, and distanced himself from the minimalist label. Academic scholarship on the composer's more recent compositions is severely limited, with the result that he is often still viewed as a minimalist. This dissertation's focus is on a more recent work by Glass, the Tirol Concerto for Piano and Orchestra (2000), and thus seeks to contribute to our knowledge of the composer's more recent stylistic development and the extent to which it is minimalist. The research approach entails compositional analyses of the concerto's second movement from both literary and theoretical perspectives. The movement's conception, its background and factors that had an influence on its compositional content are explored through literature studies. This is followed by theoretical investigations of its musical characteristics through the application of functional harmonic analysis and neo-Riemannian theory. Findings from the research provide evidence that the composition's title stems from the 'Tyrolean character' that was requested by its commissioners. However, relations between the movement and the film The Truman show (1998) challenge the composer's affirmations of a Tyrolean folk-song basis. Musically, the movement consists of a simple, repetitive structural and harmonic framework that undergoes superficial variations through melodic, textural and rhythmic changes. Transformational coherence within a functional structure is an essential component of the movement's harmonic content. This dissertation concludes that the piece contains musical characteristics consistent with all of Glass's stylistic periods, including minimalism, as well as new compositional devices that have not been identified previously. It recommends further study of the composer's more recent output , especially through transformational perspectives, and a reconsideration of the ontology and appropriateness of stylistic labels such as minimalism.

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Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.
Arts, Faculty of
Music, School of
Graduate

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45

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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46

Seligson, Robert Jan. "The Rapsodie for Orchestra and Saxophone by Claude Debussy: a Comparison of Two Performance Editions". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330587/.

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This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The study concludes that the arrangement by Rousseau is more attractive to saxophonists and will be performed more frequently than the Durand reduction.

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Gregorio, Joseph. "Concerto for Piano and Orchestra and Sonata Form in Sergey Prokofiev's First Piano Concerto: An Analysis from the Perspective of Hepokoski and Darcy's Sonata Theory". Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/540539.

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Music Composition;
D.M.A.;
This dissertation comprises two parts: an original composition, Concerto for Piano and Orchestra; and an essay that analyzes the form of Prokofiev’s Piano Concerto No. 1 in D-flat Major, op. 10. Concerto for Piano and Orchestra is cast in three movements and scored in two versions: In “Version A,” members of the orchestra are at times called on to use their voices to sustain the phonemes [m], [ŋ], and [v] on pitch and to create an intense whisper on the vowel [æ]. “Version B” is an alternative realization that uses instruments only. The first movement, unable to produce a recapitulation and continually interrupted at decreasing intervals of time by increasingly intense outbursts from percussion, brass, and wind instruments, is an extreme deformation of a sonata-concerto form. It proceeds attacca to the second movement, which is built in a large ternary form. The third movement is a concerto adaptation of James Hepokoski and Warren Darcy’s “expanded Type 1” sonata form. The concerto’s total duration is approximately 30 minutes. The essay considers the form of Prokofiev’s Piano Concerto No. 1 from the perspective of Hepokoski and Darcy’s Sonata Theory, as laid out in their seminal 2006 treatise. It finds that Prokofiev’s Piano Concerto No. 1 is a highly individualized instance of Hepokoski and Darcy’s “Type 3” sonata form with introduction-coda frame. The essay’s analysis is preceded by a glimpse at Prokofiev’s experiences with sonata form during his youth, as well as brief reviews of the conceptual backdrop of concerto form as Prokofiev would have received it and of the basics of Sonata Theory.

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48

Tang, Wen-Chien. "Antonín Dvořák’s Piano Concerto in G Minor, Opus 33: A Discussion of Musical Intent and Pianistic Effectiveness in Vilém Kurz's Version of the Solo Piano Part". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30516/.

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Since its premiere in 1878, Antonín Dvořák’s Piano Concerto in G Minor has been underrated and held in low regard by musicologists, critics, performers and audiences alike. Vilém Kurz (1872-1945), a Czech pianist and pedagogue, revised and reworked the piano solo part to incorporate what he considered to be added brilliance and pianistic effectiveness. However, the revised version has not increased the popularity of the work. In recent decades, this concerto has begun to appear more often in the programs and recordings are currently available, utilizing either the original piano part or Kurz's revision or a combination of both. In order to gain a broader analytical perspective and achieve a more authentic interpretation of the piece, a thorough understanding of the relation between Dvořák’s work and Kurz's revisions is indispensable. This study examines these adaptations and compares them with Dvořák’s scoring in order to gain further insight to Kurz's musical intent and pianistic aims. Examples from all movements are evaluated vis-à-vis the original to determine their purpose and musical validity.

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Yang, Christine. "An Analytical Study of Karamanov's Piano Concerto No.3 "Ave Maria"". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6036/.

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The purpose of this dissertation is to analyze Concerto No.3 "Ave Maria" by Alemdar Karamanov (1934-2007) and to elucidate the work through historical background and the composer's ideas. This concerto is presented as a significant gesture of dramatic emotion, religious belief, romantic spirit and universal feeling. The subtitle "Ave Maria" relates to a set up already present within the music program. An analysis of interval relationships will help performers better realize Karamanov's music language. In view of the complicated nature of this piece, an analytical study is considered necessary. The study centers principally on analysis, with an emphasis on the developments of form, tonality and motives to help performers better understand the work, and how to best approach this concerto.

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50

Polgár, Éva 1983. "Two Piano Editions of the Third and Fifth Movements of Bartók's Concerto for Orchestra: Their Textual Fidelity and Technical Accessibility". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862794/.

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In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.

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Tesis sobre el tema "Piano with orchestra"

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