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 Department: College of Music
 Degree Discipline: Performance
The 1896 Vienna Tonkünstler-verein Competition: the Three Award-winning Works and Seven Anonymous Submissions with Clarinet

The 1896 Vienna Tonkünstler-verein Competition: the Three Award-winning Works and Seven Anonymous Submissions with Clarinet

Date: August 2014
Creator: Harrell, Andrea
Description: The Vienna Tonkünstler-Verein (1885-1929) was established for the sole purpose of providing extensive support to the music and musicians of Vienna. The society became renowned in Vienna for its outstanding performances of chamber music and counted among its members many of the city’s foremost musicians and composers. Johannes Brahms had a significant influence on the society as its honorary president and assisted in establishing its composition competitions, aimed at promoting and reviving under-developed chamber genres. Of particular interest to clarinetists is the Verein’s competition of 1896, which aspired to promote chamber music literature for wind instruments. Brahms’s recently completed chamber works for clarinet were clearly influential in fin-de-siècle Vienna; for of the twelve works chosen as finalists in the competition, ten included the clarinet in the chamber combination.The purpose of this document is to provide an English-language history of the Vienna Tonkünstler-Verein and a thorough account of its1896 competition based on my study of the society’s annual reports. In addition, this document will provide the first published account of the anonymous submissions for the 1896 competition. It is my hope that this paper will serve as a springboard for future endeavors aimed at uncovering the identities of the anonymous finalists ...
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The 1986 National Endowment for the Arts Commission: An Introspective Analysis of Two Marimba Works

The 1986 National Endowment for the Arts Commission: An Introspective Analysis of Two Marimba Works

Date: August 2005
Creator: Fang, I-Jen
Description: The marimba is rapidly achieving greater importance as a solo percussion instrument. Solo compositions for the marimba have been commissioned and performed only in the last sixty years. The 1986 National Endowment for the Arts Solo Marimba Commission is considered one of the most important commissioning projects in the history of marimba literature. Two compositions created through this project, Velocities by Joseph Schwantner and Reflections on the Nature of Water by Jacob Druckman have become two of the most influential works in contemporary marimba music. This thesis will focus on a historical perspective of the project, as well as theoretical aspects and performance issues related to these two compositions. The National Endowment for the Arts (NEA) issued a consortium commissioning grant through the Percussive Arts Society (PAS) in 1986 to three internationally renowned marimbists, William Moersch, Leigh Howard Stevens and Gordon Stout. Three Pulitzer Prize winners were brought together to compose three new works for the marimba. The resulting pieces were: Reflections on the Nature of Water by Jacob Druckman, Velocities by Joseph Schwantner, and Islands from Archipelago: Autumn Island by Roger Reynolds. A brief history of the classical concert marimba and the development of solo marimba literature is provided ...
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Alberto Grau: The Composer, Selected Works, and Influence upon the Venezuelan and International Choral Community

Alberto Grau: The Composer, Selected Works, and Influence upon the Venezuelan and International Choral Community

Date: August 2007
Creator: Yu, Julie
Description: Alberto Grau is arguably one of the most influential contemporary Venezuelan choral composers and conductors of the twentieth and twenty-first centuries. This thesis explores the synthesis of Venezuelan nationalism with global internationalism found within his works. As a student of the nationalistic generation of composers (Vicente Emilio Sojo, Juan Bautista Plaza, and Ángel Sauce) Grau's works display the distinct characteristics found in Venezuelan music. His output also exhibits international influences, using texts associated with social and environmental events and concerns including literary and musical influences of other nations and cultures. The first section of the thesis traces the lineage of Venezuelan choral composers beginning with the colonial period and the Escuela de Chacao to the nationalistic composers from the Santa Capilla generation. The second section describes Alberto Grau's compositional style as exemplified in his work Kasar mie la gaji (The Earth is Tired). The final section of the document comprises interviews with Alberto Grau and his wife, the Venezuelan choral conductor, María Guinand. Guinand studied piano and conducting with Alberto Grau and was his assistant at the Orfeón Universitario Simón Bolívar and the Schola Cantorum de Caracas. She is the founding conductor of the Cantoría Alberto Grau and the editor ...
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Alexander Johnson's Ni' Concerto (1994) - Concerto no. 1 for Piano and Orchestra: a Discussion of Influences from Africa, Eastern and Western Europe

Alexander Johnson's Ni' Concerto (1994) - Concerto no. 1 for Piano and Orchestra: a Discussion of Influences from Africa, Eastern and Western Europe

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Date: August 2001
Creator: Malan, Petronel
Description: In the new generation of artists emerging in South Africa, Alexander Johnson is considered the most prolific young composer of his day. In a recent review in the Pretoria News, Johnson has been praised by eminent critic Paul Boekkooi as a composer who has “an ear for the exotic and knows exactly how to bring it off....” He continued by noting that his music is “mentally engrossing, pleasurable to the senses and seems refreshingly free from dogmatic formulas." Johnson writes for musicians and the general public to equal satisfaction. His accessible compositions and catching use of melodic materials have made his writings very popular both in South Africa and abroad. During his residency in Belgrade in 1993-94, Johnson met Croatian pianist Dorian Leljak. Impressed with Johnson's compositional ideas and output, Leljak commissioned a work from Johnson for piano and orchestra. The result was the Niš Concerto, which Johnson completed in April 1994. The world premiere took place on June 23, 1994 with the Niš Philharmonic Orchestra conducted by Anatoli Nowiestski with Dorian Leljak as soloist. The Niš Concerto received its South African premiere in 1995 during a simultaneous celebration for “Europe Day” and the new democracy of the Republic of ...
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Alexander Scriabin (1871-1915): Piano Miniature as Chronicle of his Creative Evolution; Complexity of Interpretive Approach and its Implications.

Alexander Scriabin (1871-1915): Piano Miniature as Chronicle of his Creative Evolution; Complexity of Interpretive Approach and its Implications.

Date: May 2008
Creator: Sukhina, Nataliya
Description: Scriabin's piano miniatures are ideal for the study of evolution of his style, which underwent an extreme transformation. They present heavily concentrated idioms and structural procedures within concise form, therefore making it more accessible to grasp the quintessence of the composer's thought. A plethora of studies often reviews isolated genres or periods of Scriabin's legacy, making it impossible to reveal important general tendencies and inner relationships between his pieces. While expanding the boundaries of tonality, Scriabin completed the expansion and universalization of the piano miniature genre. Starting from his middle years the 'poem' characteristics can be found in nearly every piece. The key to this process lies in Scriabin's compilation of certain symbolical musical gestures. Separation between technical means and poetic intention of Scriabin's works as well as rejection of his metaphysical thought evolution result in serious interpretive implications. Music of Scriabin provides an excellent opportunity for a performer to find a proper balance between rational and intuitive. The lack of any of these qualities will impoverish his works, making their interpretation incomplete. Following one of main Scriabin's ideas - synthesis of all arts - this study approaches his music not from the narrow analytical, but broad synthetic standpoint. The ...
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Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part

Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part

Date: May 2011
Creator: Walker, Brian Matthew
Description: Alfredo Casella's Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance.
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The American Trumpet Sonata in the 1950s: An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill.

The American Trumpet Sonata in the 1950s: An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill.

Date: August 2007
Creator: Dearden, Jennifer Lorien
Description: The trumpet, or some ancestral form of the trumpet, has existed nearly as long as civilization itself. Despite its long history, however, the trumpet's solo repertoire remained limited and relatively unvaried until the second half of the twentieth century. Like most music, the American trumpet sonatas from the 1950s are a reflection of the culture and history surrounding their composition. The purpose of this research is to show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill are both distinctly American and unmistakably from the 1950s. The post-war era in America is often viewed as a time of unbridled optimism stemming from economic prosperity and the nation's military and industrial supremacy. The decade of the 1950s is often viewed today as a simpler, happier time in America's history. The trumpet sonatas of this era reflect this primarily in their ebullient rhythms and brilliant, often heroic melodies. However, darker characteristics of the decade (the rise of communism, for example) also make veiled appearances in these four sonatas. After an overview of the social and musical trends of the decade, the central chapter of the work delineates formal, thematic, and tonal structures of each of the four ...
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An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut

An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut

Date: May 2011
Creator: Suen, Ming-Jen
Description: Four Rotations Pour Marimba (1996) by Eric Sammut has become one of the most important marimba compositions in serious concert solo marimba literature. Four Rotations Pour Marimba is a suite of four short pieces; each of them demonstrates a different musical character while incorporating similar compositional components and techniques. The goal of this thesis project is to create a stylistic analysis for providing the concert marimbist with insight into the interpretation of these four pieces and also giving composers a more in-depth understanding of Sammut's compositional method. This thesis includes a formal analysis and comparisons of compositional elements used in Four Rotations. A brief biography of Sammut and historical significance of Four Rotations Pour Marimba are also included.
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An Analysis and Performance Guide to William Lovelock's Concerto for Trumpet and Orchestra

An Analysis and Performance Guide to William Lovelock's Concerto for Trumpet and Orchestra

Date: December 2008
Creator: Place, Logan
Description: This paper investigates the usage of traditional compositional techniques on Concerto for Trumpet and Orchestra by William Lovelock. (1899-1986) Like many other twentieth-century composers for trumpet Lovelock wrote in a romantic style using traditional forms. As a composer, Lovelock is largely under-appreciated. This paper explains Lovelock's compositional techniques and provides performers with a guide to help prepare the piece for performance.
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An Analysis of Form and Tonality in Arnold Cooke's Sonata for Oboe and Piano (1957)

An Analysis of Form and Tonality in Arnold Cooke's Sonata for Oboe and Piano (1957)

Date: May 2008
Creator: Polk, Kristin Marie
Description: Arnold Cooke composed many works for oboe including two sonatas, a concerto and several pieces for chamber ensembles; however, his works are rarely performed. Through the analysis of form and tonality in his first oboe sonata, Cooke's musical style and influences become apparent. His musical style was primarily influenced by his teacher, Paul Hindemith, and can be characterized by traditional forms with the contemporary use of quartal harmonies and a variety of tertian sonorities. Cooke wrote music that is accessible for performers and audience members, and one way he achieved this accessibility is through the repetition of melodic ideas. In addition to exact melodic repetition, he also unified his works through fugue-like passages and sequences. Although he lived during a time of experimentation by many composers, Cooke maintained conservative elements in his music that he learned through his studies at Cambridge and through his studies with Hindemith. His first oboe sonata is tonal although he varied modes and used chromatic harmonies throughout. Cooke's clear writing and unique sound in his Sonata for Oboe and Piano (1957) provide oboists a solo piece for the repertoire that demonstrates a modern approach to the traditional style of composition.
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Analysis of harp performance issues in Federico's Little Songs for Children by George Crumb.

Analysis of harp performance issues in Federico's Little Songs for Children by George Crumb.

Date: May 2009
Creator: Hembreiker, Linda-Rose
Description: During the 20th century, chamber works for harp expanded to include significantly different instrumentations, like flute, voice and harp. Indeed, a body of works for flute, voice, and harp began to develop mainly through the commissioning efforts of ensembles comprised of these instruments. This study of George Crumb's Federico's Little Songs for Children for flutes, soprano, and harp considers the unique advantages and challenges of this instrumentation and offers specific suggestions for performance. Attention to various compositional elements of Federico's Little Songs for Children, especially as they relate to the text, is also helpful in preparing to perform this work. The form, pitch material, and text-painting in the work allow for special opportunities to convey meaning to audiences in ways that do not rely on traditional tonal relationships. Accompanying the shift away from traditional tonal relationships, the development of the harp repertoire in chamber and solo settings during the 20th century also led to the development of many extended- techniques for this instrument. For the most part, these techniques have been described and given various notational symbols but not discussed in detail with regard to execution. Federico's Little Songs for Children itself requires several unique extended-techniques. Recommendations are given in ...
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An Analysis of Honegger’s Cello Concerto (1929): a Return to Simplicity?

An Analysis of Honegger’s Cello Concerto (1929): a Return to Simplicity?

Date: May 2014
Creator: Kleinmann, Denika Lam
Description: Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques.
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An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by Thelonius Monk: An Exercise in Multi-Dimensional Thematicism

An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by Thelonius Monk: An Exercise in Multi-Dimensional Thematicism

Date: August 2003
Creator: Dahlke, Andrew Richard
Description: The dissertation focuses on Joe Lovano's utilization of thematic material in relation to "Misterioso" by Thelonius Monk. Thematicism is defined more broadly in this study to include reference to the form, phrase structure, and harmony of "Misterioso". Methodological models provided by Gary Potter, Henry Martin, and Paul Hindemith serve as points of departure for this study which focuses on four areas: 1) phrasing, 2) step progression, 3) motives and formulas, and 4) harmonic implications. Thematic relationships are discovered through the analysis of the transcription of Lovano's improvisation; the four levels of the analysis work together and also independent of one another to produce a kind of thematic counterpoint. This study also examines how Lovano creates an effective solo. The study will be of benefit to students, professional musicians, pedagogues, theorists, musicologists, and jazz aficionados.
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An Analysis of Joseph Schwantner's Concerto for Percussion and Orchestra

An Analysis of Joseph Schwantner's Concerto for Percussion and Orchestra

Date: December 2008
Creator: Hart, Shawn Michael
Description: This analysis of Schwantner's Concerto is focused primarily on the pitch organization within the work, using terminology and concepts borrowed from those designed by Allen Forte in The Structure of Atonal Music. Discussion of pitch sets, their use, their derivation, their intervallic content, and their evolution throughout the piece are discussed. Additional discussion regarding Schwantner's style, orchestration techniques, textural manipulation with regard to form, are also discussed. Sources consist of the orchestral score, the two - piano reduction, and the solo percussion score. This document is in six chapters. The first discusses Schwantner's life and general musical style. The second is a brief discussion of terms in the field of pitch set organization. The third, fourth, and fifth chapters discuss in detail the musical materials themselves in each respective movement. Finally, the sixth chapter is a summary of the findings from the analysis.
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An Analysis of Pitch Organization in Villa-lobos's Rudepoêma

An Analysis of Pitch Organization in Villa-lobos's Rudepoêma

Date: May 2013
Creator: Kruger, Esthea
Description: Heitor Villa-Lobos (1887-1959) stands central to the music history of the Brazilian twentieth century. His music represents a synthesis of the European art influences he absorbed and his quest to find a true Brazilian identity, which was not rooted in the deliberate imitation of Brazilian folk elements, but rather in the natural assimilation of them in his compositional style. His early compositions embody strong post-romantic, impressionistic tendencies, especially in regard to their harmonies and use of tone color, whereas the works from the 1920's and onwards show Villa-Lobos increasingly asserting his unusual and strong voice. Villa-Lobos's large-scale composition for piano, Rudepoêma, was composed between 1921 and 1926, and stands as one of the most significant contributions to the Latin-American piano literature. Despite of its importance in Villa-Lobos's oeuvre, it has largely eluded analytical attention. Discourse on Villa-Lobos is often marked by a somewhat one-dimensional approach that identifies the folk and rhythmic elements as the most important characteristics of his compositional style, and displays a certain reticence with regard to in-depth analysis of other parameters of his works. This study redresses the imbalance in the general approach to analytical assessment of Villa-Lobos's oeuvre by illustrating that pitch organization plays an indispensable ...
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Analysis of Roger-ducasse’s Pastorale Pour Orgue

Analysis of Roger-ducasse’s Pastorale Pour Orgue

Date: May 2012
Creator: Kim, Jung-Won
Description: Pastorale pour Orgue (1909) is Jean Jules Aimable Roger-Ducasse’s only solo organ composition, which demonstrates skillful use of organ colors and demands a virtuoso technique for performance. Writing Pastorale in 1909, Roger-Ducasse synthesized compositional styles and techniques of two very different compositional approaches – impressionism and classicism. This study examines the stylistic characteristics of Pastorale by Roger-Ducasse as examples of both of these influences. the synthesis in Pastorale is primarily evident in the combination of classical forms and generic references with impressionist harmony and color. Thus, examining these musical elements provides hitherto unexplored insights into Pastorale as a master solo organ work of the early twentieth century. the dissertation is divided into four chapters. the first chapter presents the purpose, the significance, and the state of research of the piece. in the second chapter, I examine the traits of classicism through genre, form, thematic variation and other classicist elements of the composition. the third chapter presents the traits of impressionism including harmonic parallelism, extended chords, pedal points, ostinatos, and whole-tone scales. in the fourth chapter, I summarize the study and make a suggestion for further research of the piece.
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An Analysis of Selected Choral Works by Kirke Mechem: Music-Textual Relationships in Settings of Poetry of Sara Teasdale

An Analysis of Selected Choral Works by Kirke Mechem: Music-Textual Relationships in Settings of Poetry of Sara Teasdale

Date: August 2003
Creator: Bierschenk, Jerome Michael
Description: Kirke Mechem (b. 1925), American composer, has a musical output which includes a variety of genres, the most prolific being choral music. This document examines selected choral works by Mechem that are set to the poetry of Sara Teasdale (b. 1884, d. 1933). Included are biographical sketches of Mechem and Teasdale. Selected choral works examined include Christmas Carol (1969) SATB and guitar, The Winds of May, five movement choral cycle (1965) SATB, Birds at Dusk, from the choral cycle Winging Wildly (1998) SATB, and Barter (1995) SA, trumpet, piano 4-hands. Analysis of the poetry involved as well as musical attributes and compositional techniques, including meter, form, harmonic structures, wordpainting, rhythmic treatment and melodic characteristics are included in the discussion.
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An analysis of the American Concerto by Ellen Taaffe Zwilich, identifying the use of motives, and a guide for performance preparation.

An analysis of the American Concerto by Ellen Taaffe Zwilich, identifying the use of motives, and a guide for performance preparation.

Date: August 2008
Creator: Rodriquez, Raquel
Description: Ellen Taaffe Zwilich is an important figure in the compositional world, having written a diverse body of works for which she has received many accolades, including the coveted Pulitzer Prize. The second chapter examines this American composer, the commission of the American Concerto, and events leading to the piano reduction of the concerto. The America Concerto is a modern work that incorporates synthetic scales, unusual notation, and the organization of melodic material through motives. The third chapter includes an analysis that identifies the form and tonal centers as well as the primary motives used in the concerto. The fourth chapter includes pedagogy considerations for performance. Issues relating to tessitura, articulation, flexibility, endurance factors, fingerings, and technical features of the piano reduction accompaniment are evaluated. Detailed suggestions are provided to aid in preparing the piece for performance, including a study of stylistic concerns. The American Concerto is quite diverse stylistically as Zwilich explores the symphonic and jazz genres. The dual nature of the trumpet is examined as the piece combines classical and jazz styles in a virtuosic setting.
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An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók.

An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók.

Date: May 2004
Creator: Ujj-Hilliard, Emöke
Description: This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended ...
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An Analysis of the Pedagogical Advantages Relating to Combined Study of Euphonium and Trombone through the Use of Specific Repertoire

An Analysis of the Pedagogical Advantages Relating to Combined Study of Euphonium and Trombone through the Use of Specific Repertoire

Date: August 2010
Creator: Lipton, Jamie
Description: Doubling is defined as playing two instruments. It is becoming increasingly necessary for low brass musicians to double in the course of their careers. Euphoniumists often learn trombone, and trombonists learn euphonium. The instruments share several surface similarities but also differ in many significant ways. Interviews with six professional doublers highlight strategies for learning, teaching, and performing on both trombone and euphonium. Slide and valve technique, adjustment of intonation, tone quality, air usage, repertoire, and skill maintenance are all addressed. Trombone literature comprises a large part of the euphonium repertoire, due to the fact that most trombone pieces can be performed on euphonium. Euphoniumists should avoid playing pieces that require glissandi or extremely loud dynamics to be effective. Euphonium solos are generally too technical to be practical for trombonists to perform. Grøndahl's Concert pour trombone et piano ou orchestre is a standard piece for both instruments. When performing the piece on either instrument, it is helpful to practice the piece on both trombone and euphonium in order to tap into each instrument's strengths.
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An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance.

An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance.

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Date: August 2006
Creator: Adduci, Kathryn James
Description: The Sonata for Trumpet and Piano by Peter Maxwell Davies is one of his earliest works, and a notoriously difficult work to perform. While using serialism and other twentieth-century compositional techniques, this work also uses older historical forms, including sonata-allegro and sonata-rondo forms. An analysis of the work is presented, identifying the older historical forms, and considerations for performers when making decisions on how to perform the work are provided.
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An Analytical Study: Applying Hindemith's Tonal Theory to Niels Viggo Bentzon's Third Piano Sonata, Op. 44

An Analytical Study: Applying Hindemith's Tonal Theory to Niels Viggo Bentzon's Third Piano Sonata, Op. 44

Date: December 2009
Creator: Kim, Sun Hee
Description: Niels Viggo Bentzon (1919-2000) is the most significant composer in the post-Nielsen period of Danish piano music. Bentzon's Third Piano Sonata, Op.44 was composed in 1946 and is considered by Mark L. Lehmann to be one of the great piano sonatas of the twentieth century. Not only does this sonata reflect Hindemith's ideas, but it also reveals Bentzon's unique style that successively empowers his innovative features. By applying Hindemith's theory, this study offers a way of understanding this piece and demonstrates the relevance of Hindemith's theory as a tool for analyzing the sonata. Chapter 1 presents the significance of the study, the state of research, the purpose of the study, and method. Chapter 2 provides a theoretical analysis of Bentzon's Third Piano Sonata, Op. 44. With a discussion of each movement, this analytical chapter traces Hindemith's influences: Bentzon organizes the four movements with a clear formal structure, a mediant relationship between the first movement and the rest of the movements, and a motivic coherence of each movement. Also, this chapter demonstrates how Bentzon follows Hindemith's way of chord construction and harmonic progression. This chapter provides insight into Bentzon's original style that facilitates an understanding of the tonal organization of each ...
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An Analytical Study of Karamanov's Piano Concerto No.3 "Ave Maria"

An Analytical Study of Karamanov's Piano Concerto No.3 "Ave Maria"

Date: May 2008
Creator: Yang, Christine
Description: 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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An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor.

An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor.

Date: May 2007
Creator: Kim, Miyang
Description: Balakirev's two early piano and orchestra works, Grande Fantaisie on Russian Folk Songs and Concerto Op. 1 in F# Minor, were composed in the middle of the nineteenth century when in Russia there were no particularly important works for piano and orchestra. Balakirev was still a teenager when he wrote these two pieces and unfortunately both remained unfinished. However the beauty and remarkable compositional achievement of these works should be highly recognized. There are six chapters in this essay. The general background, purpose and the state of research are discussed in the first chapter. The second chapter presents Balakirev's biographical information and the overview of his works for piano and orchestra is stated in Chapter III. Individual works, Grande Fantaisie and Concerto in F# Minor are discussed in the chapters IV and V, which including discussing compositional background, analysis and diagram of structural schemes. The last chapter concludes with Balakirev's contribution to Russian music and the development of the Russian concerto coming into its own. It deals particularly with Balakirev's approach to folk songs, which gives the concerto a unique Russian aesthetic, in addition to his ability to write in the European tradition.
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