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 Degree Discipline: Performance
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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An Analytical Study of Robert Muczynski's Second Piano Trio

An Analytical Study of Robert Muczynski's Second Piano Trio

Date: May 2006
Creator: Oh, Eun Jun
Description: The purpose of this study is to provide scholastic research on Robert Muczynski's Second Piano Trio (1975) by presenting his biographical background, discussing influences and his musical style, and analyzing the work. Robert Muczynski (b.1929), a composer-pianist of Polish descent, studied with Alexander Tcherepnin (1899-1977). From traditional forms and techniques, he fashioned his own unique and innovative compositional style. The second piano trio, in particular, was deeper and more complex in its conception and affect than previous compositions. The first movement Andante molto opening leads to an allegro section, and the somber second movement builds to a heavy climax. The third movement is highly rhythmic and dramatically driven. Chapter I outlines the purpose of the study and the composer's biography. Chapter II describes Muczynski's compositional influences and the evolution of his musical language. Emphasis in this respect will be placed on the pedagogical role of Alexander Therepnin, as well as the important connections between Prokofiev, Tcherepnin and Muczynski. An exploration of other elements that have informed Muczynski's style is offered. Chapter III details the circumstances, general characteristics, and compositional technique of the Second Piano Trio. Detailed analysis of all three movements will be provided, with particular attention paid to aspects ...
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An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski

An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski

Date: May 2000
Creator: Ahn, Kwang Sun
Description: The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure ...
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Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame

Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame

Date: August 2011
Creator: LaBarr, Cameron Frederick
Description: British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.
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An Annotated Bibliography of Selected Chamber Music For Saxophone, Winds and Percussion with Analyses Of  Danses Exotiques by Jean Françaix, and  Nonet by Fisher Tull

An Annotated Bibliography of Selected Chamber Music For Saxophone, Winds and Percussion with Analyses Of Danses Exotiques by Jean Françaix, and Nonet by Fisher Tull

Date: December 2003
Creator: Fryer, Cheryl A.
Description: An expansive repertoire of original chamber works is available for ensembles comprised of saxophone, wind and percussion instruments. Many musicians, including saxophonists and conductors, are unaware of this enormous body of literature. This produces a compelling need for sources of identification available to conductors, performers and teachers. This study begins to provide such a source through the presentation of selected works and the accompanying annotated bibliography. The lack of awareness of available scores for chamber music with saxophone, winds and percussion among conductors and many performers often contributes to the absence of these works in concert halls. The objective of this lecture-recital document is to make available a tool that includes only original works for the saxophone in a variety of chamber ensemble settings. The nature of this study will be descriptive. The literature chosen for this project reveals varying levels of performance difficulty, compositional techniques, form, and instrumentation. Chosen works employ an ensemble size that requires a conductor or are more successfully performed with a conductor. Selected compositions are illustrated in which the saxophone is identified as a vital ingredient in an already existing repertoire of serious chamber literature. Works in this study include original compositions using from seven ...
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An Annotated Bibliography of Selected Music for Saxophone by Charles Ruggiero with an Analysis of Interplay for Soprano Saxophone and Piano

An Annotated Bibliography of Selected Music for Saxophone by Charles Ruggiero with an Analysis of Interplay for Soprano Saxophone and Piano

Date: May 2010
Creator: Bradfield, Ann
Description: Ruggiero's contributions to contemporary music are noteworthy. They include 27 works written for solo instruments, voice, as well as chamber groups and large ensembles. This study serves as an annotated bibliography of selected works written for saxophone by Charles Ruggiero. They include a piece for large chamber ensemble, Dig: From Tunes My Grandmother Heard (2009), a trio for flute, clarinet, and alto saxophone titled Echoes of "Piano Red" (2006), two saxophone quartets, Dig: JSB 1 (2003), and Three Blues for Saxophone Quartet (1981), two works for alto saxophone and piano, Night Songs and Flights of Fancy (2005), and Strayhorn (1999-2000), one piece for soprano saxophone and piano, Interplay for Soprano Saxophone and Piano (1988), a single movement work for alto saxophone, piano, winds, and percussion, Dance Complusions (2004), one duo for tenor saxophone and percussion, Sizzlesax II (2001), one concerto for soprano saxophone and piano, Concerto for Soprano Saxophone and Orchestra (1995, rev. 1999), and a trio for violin, alto saxophone, and piano, Dances and Other Movements (1983, rev. 1984). In addition, an analysis of Ruggiero's composition Interplay for Soprano Saxophone and Piano offers an insight into the compositional style of the composer.
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An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's  Sonate Pour Alto Saxophone Et Piano

An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour Alto Saxophone Et Piano

Date: December 2005
Creator: Kallestad, Scott D.
Description: In this study the author addresses the problem of finding quality repertoire for young college-level saxophonists. By examining graded repertoire lists from a variety of college and university saxophone instructors, the author has compiled a list of 180 works for alto saxophone and piano. Twenty-four well-known works of a difficulty-level appropriate for freshman and sophomore players are identified and annotated. Each annotation consists of bibliographical information, a biographical sketch of the composer, a difficulty rating of eight elements of performance, a discussion of performance considerations, and a bibliography of available recordings. The eight elements of performance included in the difficulty rating are: Meter, key signatures, tempo, note-values, rhythm, articulation, range, and dynamic levels. Each of these facets is graded using a six-point difficulty scale. One work from the select list, Yvon Bourrel's Sonate Pour Saxophone Alto et Piano, has been analyzed in greater detail with regard to thematic material and key areas to provide in-depth information that, hopefully, will help the student gain a deeper understanding of that work and as a result perform the piece with greater artistry.
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Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659

Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659

Date: May 2008
Creator: Javadova, Jamila
Description: This dissertation presents a historical and analytical study of the organ works of Anthoni van Noordt. Van Noordt's Tabulatuurboeck is one of the most important music publications in mid-seventeenth-century Netherlands. It gives unique, valuable information on organ playing of its time. The process of discrete analysis has led to the identification and exploration of many details, such as extensive use of pedal, the reliance of the composer on rhetorical principals of composition, and his integration of the Italian and German principals of ensemble techniques. The dissertation is divided into three major parts. The first part contains chapters on van Noordt's biography based on available archival documents as well as a chapter on the organ and its role in seventeenth -century Amsterdam. The second part is solely dedicated to the Tabulatuurboeck examining the physical and technical features of the publication including the style of the publication, the letter and staff notation, hand positions, and rhetorical components. Finally, the third part studies the music and its peculiar characteristics with separate chapters on the variations and fantasias.
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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

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

Date: August 2010
Creator: Tang, Wen-Chien
Description: 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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Aphorismen, Capriccio, and Heptameron for Piano Solo By Jürg Baur: a Performer's Guide

Aphorismen, Capriccio, and Heptameron for Piano Solo By Jürg Baur: a Performer's Guide

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Date: December 2012
Creator: Park, Esther
Description: The purpose of this dissertation is to give instruction regarding the performance of three important piano works by Jürg Baur (1918-2010). Aphorismen, Capriccio, and Heptameron stand out as his most significant piano works both because of their length and because of their pianistic complexity. Since Baur had a successful career as both teacher and composer during his lifetime, his acclaimed works received many honors in Germany. His works can be performed by intermediate to advanced students. Intermediate students can easily offer simpler pieces like Aphorismen in competitions, while pieces like Capriccio and Heptameron better are suited to a more advanced level. Although some of his compositions are difficult to perform compared with other modern German works, Baur's music is more accessible. In the article, "Auf der Spuren der alten Zeit" Baur is quoted to state that Paul Hindemith and Bela Bartok's music influenced his own compositional ideas. However, although Baur is a modern composer, he didn't write in a totally atonal style, but rather attempted to broaden tonality. While Heptameron is atonal, Aphorismen and Capriccio give the impression of tonality, thus they are more accessible to the audience. I was fortunate enough to study Aphorismen with Baur as well as ...
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The Application of Common-practice Elements in Modern Music: Examining Examples of Musical Continuity in Selected Piano Works of James R Wintle

The Application of Common-practice Elements in Modern Music: Examining Examples of Musical Continuity in Selected Piano Works of James R Wintle

Date: December 2014
Creator: Kim, Sung-Yun
Description: The purpose of this dissertation is to analyze the ways in which distinguished American composer James RayWintle (1942-2013) addresses the problem of formal unity and incorporates previous musical styles in his post-tonal compositions. Because post-tonal music lacks many of the pillars that create tonal structure, it can be difficult for a composer to maintain a sense of form when writing in this style. Wintle attempts to circumvent this issue by incorporating common-practice elements, such as formal sections, familiar stylistic gestures, and referential-pitch organization into his works. For this analysis, the author has selected three of Wintle’s piano compositions that best represent his compositional approach and diverse techniques: Album Leaves - A Set of Five Character Pieces for Piano (2001), Scherzino (Street Scenes of Ovada) for Solo Piano (2010), and Four Miniatures for Piano Four Hands (2003). Wintle’s artistic style borrows extensively from Western classical music, encompassing various historical periods and quoting several major composers. Additionally, he incorporates a variety of musical styles into his chamber works and those for solo piano. These range from the dance suites of the French Baroque and Brahmsian-character pieces to American ragtime. This research also describes Wintle’s compositional style and his borrowing of 18th- and ...
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