Tesi: "Piano music 19th century"

1

Brown, Myron D. "The 19th Century Tarantella for Piano: A Pedagogical Guide to Performance and Leveling". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1302883737.

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2

譚詠基 e Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.

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3

Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /". Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.

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4

Sanchez, Luis. "Piano literature by Argentine composers from the late nineteenth century through the twentieth century : an annotated catalog". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1247895.

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The piano pieces by Argentine composers are a significant contribution to piano literature. They represent the voice of a nation that has enjoyed a strong musical tradition, with a noted European influence and a unique fusion of Argentine folk dances and songs. In that regard, these works possess distinctive qualities and an incomparable style. Unfortunately, a large proportion of these compositions remain unknown.This annotated catalog focuses on the piano literature by Argentine composers from the late nineteenth and the twentieth centuries, that are available in U.S. libraries. Its purpose is to aid pianists, educators, and music historians discover a wealth of repertoire that has long been neglected. The piano works by Argentine composers, including Julian Aguirre (1868-1924), Felipe Boero (1884-1958), Juan Jose Castro (1895-1968), Alberto Ginastera (1916-1983), and Carlos Guastavino (1912-2000) are listed alphabetically by composer. Each entry includes publishing information, level of difficulty, U.S. libraries that hold the scores, and a descriptive paragraph. Transcriptions, arrangements, works for piano and tape, and prepared piano have not been included.
School of Music

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5

Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context". The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.

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6

Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.

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La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violon
A great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin

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7

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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8

Hansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.

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Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.

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9

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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10

Hernandez, Alberto Hector. "Puerto Rican piano music of the nineteenth century /". Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936671.

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11

Ceballos, Sara Gross. "Keyboard portraits performing character in the eighteenth century /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619148891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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12

Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form /". Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0052.

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13

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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14

Wong, Siu-chun Jenny, e 黃小津. "Robert Volkmann's piano trios, op.3 (1842-1843) and op.5 (1850): a study of sources and style". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31226875.

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15

Jou, Jonathan Jeng-Jong. "Bel canto : its effect on piano repertoire of the nineteenth century /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11375.

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16

Bang, Keum Ju. "The study of representative twentieth century piano compositions appropriate for use in contemporary college piano literature classes /". Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778391.

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17

Risko, Sharon Marie. "19th Century Sea Shanties: From the Capstan to the Classroom". Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1439294062.

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18

Bauer, Petra. "The reception of E.T.A. Hoffmann in 19th century Britain". Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301193.

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19

Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form". University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.

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This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.

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HÖHMANN, REIKO CHRISTINE. "FOUR TWENTIETH-CENTURY SONATINAS FOR VIOLIN AND PIANO". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1171310483.

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21

Hadjiandreou, Andri. "Intentions and interpretations : form, narrativity and performance approaches to the 19th-century piano ballade". Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11032/.

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This thesis is concerned with how a performer might engage with the supposed narrative elements in piano ballades of the nineteenth century, and more generally with the performative principles that would be needed to sustain a narrative realisation of music wherever it seemed appropriate. Of course, the presence of narrative elements in music is usually defined not according to the methods employed by performers, but to those familiar from literary, historical, contextual and analytic studies of the music-as-a-text. Therefore a first step is to examine the tensions between methodologies centred on the “work-as-a-text”, and those concerned with the act of performance. Some important distinctions between critical interpretations and performance interpretations are suggested, even if the former sometimes provide an instigating basis for the latter. Out of this comes a need to demonstrate that, in respect to musical “meaning”, performance has a generative as well as reproductive role, and that the processes and decisions embedded in the acts of rehearsal and the “unfolding-through-time” of performances are central to the creation and emergence of such meanings, including narrative meanings. Next, the evidence for the existence of narrative meanings in music is placed in a particular historical context (that concerned with the development of the piano ballade and its conventions), and in the framework of the changing aesthetic attitudes towards programme music in the first half of the nineteenth century –attitudes that played out in radically different ways in relation to those piano works by Chopin, Schumann and Liszt that form part of this study. The focus then turns to possible and actual performances of these works, and questions are asked about how performances, as implicative sonic shapes and gestural events, for example, might be analysed and theorised by employing recent methodologies of the discipline of performance studies. A final step is to develop and test those findings against a series of case studies of performance approaches to particular works – by Kullak, Chopin, and Liszt – the last two of which are included in the recital that accompanies this doctoral investigation.

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22

Tithecott, Christine. "Canadian contemporary music and its place in 21st century piano pedagogy". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2018.

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23

Bender, Sharla Ann. "A pedogogical discussion of five french twentieth-century piano pieces for progressive study". Thesis, The University of Alabama, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620057.

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This document provides a pedagogical study of five works for younger pianists by twentieth-century French composers. The works are Jeu by Darius Milhaud, Petite suite serieuse pour concert de famille by Besty Jolas, Les fleurs endormies by Marcel Landowski, A la maniere...d'un violon by Raymond Loucher, and L'histoire de Babar by Francis Poulenc. Each work is published individually by the French editor Gerard Billaudot and is a part of a collection of twenty-seven teaching pieces specifically designated pour les jeunes ("for young people"). These works can be used as an introduction to modern French piano music for elementary through early-advanced students. This subject is of great importance as such works are rarely found in student-level repertoire and method books. The selections are presented in the order of progressive study, each accompanied with a detailed discussion, so that the teacher may decide on how best to integrate the compositions into their students' training. It is possible to use all five pieces with one student in a graduated progression; but the discussions are presented with one composition per chapter so that an instructor may go immediately to the piece that most closely reflects their student's current level. These solo piano works can equip the student with the skills necessary to play more difficult French twentieth-century repertoire, such as Ravel's Sonatine or one of the Debussy Préludes.

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24

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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25

Keil, Andrea Marie. "The Dawn of Modern Piano Pedaling: Early Twentieth-Century Piano Pedaling Literature and Techniques". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503747.

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26

Yu, Catherine Chin-Yen. "Aspects of nationalism in nineteenth-century Spanish piano music : a critical commentary on selected works by Granados, Falla and Albeniz /". St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16110.pdf.

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27

Arenas, Erick G. "A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile". Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/23902.

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189 p.
Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.

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Lan, Ping-Ting. "New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)". Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2632/.

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This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.

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29

Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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Abstract (sommario):

xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.
Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance

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Shank, Ashley C. "Composers as Storytellers: The Inextricable Link Between Literature and Music in 19th Century Russia". University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1290275047.

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31

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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Abstract (sommario):

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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32

Kruja, Mira. "PIANO INSIDE OUT: THE EXPANSION OF THE EXPRESSIVE, TECHNICAL, AND SONOROUS SPECTRUM IN SELECTED TWENTIETH-CENTURY ART-MUSIC REPERTOIRE FOR THE MODERN ACOUSTIC PIANO". Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukymuar2004d00228/Mkrujadma.pdf.

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Thesis (Ph.D.) --University of Kentucky, 2004.
Title from document title page (viewed on August 17, 2005). Document formatted into pages; contains: vii, 201 p. : music. Includes abstract and vita. Includes bibliographical references (p.187-197).

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33

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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34

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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Abstract (sommario):

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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35

Salido, Caroline Besana. "The Piano Compositional Style of Lucrecia Roces Kasilag". Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1038863092.

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36

Andrews, Christine. "Nineteenth century English oratorio festivals : chronicling the monumental in music". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:bdeff62f-fead-42a7-9724-5c79d5c2cdf9.

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Abstract (sommario):

Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value of a performance was directly in proportion to the size of the performing forces and the audience. A framework devised mainly from Stephen Little's definition of monumental art (2004) is used as a critical tool to examine from a new perspective aspects of nineteenth-century oratorios such as 'physical scale', 'breadth of subject matter', and 'ambition to be of lasting significance'. Furthermore, this dissertation argues that a complex ideology of an English musical monumentalism underpinned the concatenation of circumstances that allowed oratorio festivals to flourish at this time. The spectacle of the Crystal Palace in London and the Great Handel Triennial Festivals it housed are contrasted with the provincial festivals, such as those of Bristol, Manchester, Liverpool, Birmingham, and Leeds. The analyses of the latter rely on substantial original material uncovered from rich primary source documents about the provincial oratorio festivals and the buildings in which they were held. Musical scores themselves, including some of Sir Michael Costa's orchestral manuscripts, are also examined as monuments. A comprehensive study of these festivals is well overdue and this study will aim to understand why these events grew to such a mammoth size at this time.

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37

Guillaumier, Christina. "From piano to stage : a genealogy of musical ideas in the piano works of Sergei Prokofiev (1900-c.1920)". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/6451.

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Abstract (sommario):

This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first chapter is concerned with Prokofiev's juvenilia (1898 to c. 1906). Drawing upon a large amount of previously unpublished archival resources, this chapter uncovers the original gestures and thematic ideas which characterize Prokofiev's early style. The next chapter focuses on Prokofiev's period at the St Petersburg Conservatory, tracing his development into a virtuoso pianist, examining the nature of that virtuosity and chronicling the creation of Prokofiev's performing persona. The gestures and idea- types identified in the first chapter are then examined within the context of Prokofiev's works for solo piano, his early works with orchestra and his first two major operas. Conclusions are then drawn about the nature of Prokofiev's distinctiveness, his compositional legacy and about his current position as a major twentieth-century composer.

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38

Lee, Chung H. (Chung Haing). "Japanese Elements in the Piano Works of Toru Takemitsu". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332793/.

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Abstract (sommario):

Toru Takemitsu's piano works reveal a new scope to the concept of sound in modern piano literature. He achieves originality through his imagination and his Japanese cultural and musical heritage. Subtle Japanese elements, which have been embedded for centuries in Japan's culture and music, lend a unique, but not outwardly Japanese, feeling to this work.

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39

Kallionpaa, Maria E. "Beyond the piano : the super instrument : widening the instrumental capacities in the context of the piano music of the 21st century". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:1bd51738-543e-4898-8b64-26fe2b17a352.

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Abstract (sommario):

Thanks to the development of new technology, musical instruments are no more tied to their existing acoustic or technical limitations as almost all parameters can be augmented or modified in real time. An increasing number of composers, performers, and computer programmers have thus become interested in different ways of "supersizing" acoustic instruments in order to open up previously-unheard instrumental sounds. This leads us to the question of what constitutes a super instrument and what challenges does it pose aesthetically and technically? This work explores the effects that super instruments have on the identity of a given solo instrument, on the identity of a composition and on the experience of performing this kind of repertoire. The super instrument comes to be defined as a bundle of more than one instrumental lines that achieve a coherent overall identity when generated in real time. On the basis of my own personal experience of performing the works discussed in this dissertation, super instruments vary a great deal but each has a transformative effect on the identity and performance practice of the pianist. This discussion approaches the topic from the viewpoint of contemporary keyboard music, showcasing examples of super instrument compositions of the 21st century. Thus, the main purposes of this practise based research project is to explore the essence and role of piano or toy piano in a super instrument constellation, as well as the performer's role as a "super instrumentalist". I consider these issues in relation to case studies drawn from my own compositional work and a selection of works composed by Karlheinz Essl and Jeff Brown.

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40

Daly, Shawn Timothy. "Abram Chasins: A Study of Selected Works for Solo Piano and Two Pianos". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1180706349.

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41

Yoo, Hyun Hanna. "The survey of Robert Schumann his artistry in the context of 19th century music /". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3165.

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42

Billock, Rebecca. "Selected intermediate piano pieces by seven women of the twentieth century : Marion Bauer, Germaine Tailleferre, Ruth Crawford Seeger, Sofia Gubaidulina, Emma Lou Diemer, Chen Yi, and Karen Tanaka /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11367.

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43

Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo with Three Recitals of Works by Mussorgsky, Brahms. Bartok, Dutilleux, and Others". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038907/.

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Abstract (sommario):

The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VII (1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troiseme Sonatine (1933), and Jean-Michel Damase Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work.

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44

Zhou, Liguang Zhou. "Between the Inside and the Outside: Seven American Composers in the Twentieth Century and Their Piano Pieces". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1545387063582088.

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45

Hambridge, Katherine Grace. "The performance of history : music, identity and politics in Berlin, 1800-1815". Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283937.

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46

Loungsangroong, Manchusa. "First-wave Women Clarinetists Retrospective: A Guide to Women Clarinetists Born Before 1930". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492472880913857.

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47

Goker, Burcu. "An annotated survey of selected works for violin and piano by Turkish composers in the twentieth century". Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564893.

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Abstract (sommario):

The impetus for this treatise began as an investigation into the repertoire of works for violin and piano by Turkish composers throughout the 20th century. The establishment of the Turkish Republic in 1923 proved to be very pivotal for the development and exposure of Western classical music within Turkey, allowing for the first time newer generations of composers to define their Turkish identity within the context of larger westernized traditions. Very little information has been written regarding the theoretical analysis or historical background for most Turkish works for violin and piano; this survey will serve to further appreciation and understanding of several of the most significant compositions of this neglected body of repertoire.

This annotated survey consists of twenty selected works for violin and piano, and will summarize the stylistic traits and technical features present in a diverse body of compositions written by several generations of Turkish composers in the 20th century. The works in this survey have been categorized into five chapters, which correspond to large-scale generational shifts of compositional style, ranging from the nationalism and modality of the "Turkish Five", to the avant-garde, and a later more modernistic, eclectic compositional approach.

The establishment of a pedagogical ranking system of technical and interpretive difficulties at the onset of this treatise will help facilitate advanced through professional violinists in choosing individual works of a suitable level of difficulty. Relevant information relating to composition dates, premiere locations, discography, and score accessibility information will be included in this survey to encourage musicians to seek out these works for further study and performance.

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48

Perry, Margaret C. "Piano music in Italy at the turn of the twentieth century: Alfredo Casella and Gian Francesco Malipiero". Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280046.

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Abstract (sommario):

Alfredo Casella and Gian Francesco Malipiero were significant voices among several Italian composers at the beginning of the twentieth century that promoted the revival of instrumental music. They hoped to create a national style beyond opera by expanding the instrumental repertory of their country. This document includes analyses and discussion of solo keyboard works by these composers created between 1914--1918, including Malipiero's Preludi autunnali and Risonanze, and Casella's Nove Pezzi and Sonatina. The author identifies important sources of style relevant to the musical language of Malipiero and Casella and assesses the quality and context of their contributions to the history of solo keyboard music in twentieth century Italy. These composers successfully revitalized a dwindling solo keyboard tradition through their own compositions, their work as pedagogues, and their leadership positions in the international musical community.

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49

Silver, Noreen. "Nineteenth century music for cello and piano in the British Library Collection : an annotated catalogue /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11364.

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50

Jacobus, Rhea B. "The literature of the French flute school, 1800-1880 : style characteristics, sociological influences, and pedagogical applications". Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720140.

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Abstract (sommario):

The years from 1800 to 1880 produced a distinct and identifiable body of flute literature representative of the Napoleonic age in France and also the Romantic period as a whole. The changing role of the flutist exhibited in this vocally-based literature can be traced to effects from the development of the Boehm system and to certain nineteenth-century sociological changes in France. Compositions from this school also reflect the emerging status of the flutist as solo virtuoso.The literature of the French flute school represents a hybrid form of instrumental virtuosity and extremely expressive melodies which holds a unique place in flute literature. Nevertheless, its use appears to be decreasing steadily, probably due to differing opinion about the questionable musical value of this body of music. The present study was therefore devised to identify idiosyncratic characteristics of the literature, and to examine possible pedagogical applications in light of these characteristics.Six composers were chosen who were flutist-virtuosi from 1800-1880: Tulou, Boehm, Altes, Genin, Demersseman and Andersen. Biographical information was included to enlarge the sociological picture of the flutists' status as Romantic virtuosi, and to aid in the presentation of various descriptions of the expressive role of the new flute.One composition by each composer was selected for analysis. Where possible, actual Conservatory Exam pieces were chosen. A pool of recurrent common characteristics emerged which are clearly related to the sociological framework of nineteenth-century France. Finally, the isolated elements were examined for possible pedagogical benefits.
School of Music

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Tesi sul tema "Piano music 19th century"

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