A Structural Analysis and Selected Aspects of Performance of Gazebo Dances for Piano Four Hands by John Corigliano

A Structural Analysis and Selected Aspects of Performance of Gazebo Dances for Piano Four Hands by John Corigliano

Date: August 2008
Creator: Kim, Do Young
Description: The purpose of the study is to present a formal analysis of the musical style and performance issues of the original version, for four hands piano, of Gazebo Dances, composed by John Coriglaino (b. 1938), a major American contemporary composer. Corigliano and his compositions have been performed by many performers and scholars over the several years. Gazebo Dances for piano four hands was composed in 1972. Gazebo Dances consists of four movements and was dedicated to his close friends: a dancelike overture movement in a slightly rondo form which is dedicated to Rose Corigliano and Etta Feinberg, waltz movement in a combination of rondo and sonata-allegro form which is dedicated to John Ardoin, adagio movement in a miniature sonata form which is dedicated to Heida Hermanns, and a tarantella movement in a modified rondo form which is dedicated to Jack Romann and Christian Steiner.
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A Stylistic and Analytical Study of The Key for Trumpet and Piano by James Wintle

A Stylistic and Analytical Study of The Key for Trumpet and Piano by James Wintle

Date: August 2008
Creator: Seo, Young Mi
Description: James Wintle (b.1942) is one of America's most successful living composers. Wintle and his compositions have attracted the attention of many prominent performers and scholars over the last three decades. The Key for trumpet and piano was composed in 1988 for Chris Gekker, an outstanding trumpet player. The Key consists of four movements: a fast movement in free form, a slow lyrical movement in song form (ABA'), a dance-like movement influenced by ragtime, and a fourth movement with a slow introduction in rondo form (ABA'CA''). The purpose of the study is to introduce the composer, James Wintle, and to present an analysis of The Key for trumpet and piano, a work which receives frequent performance. Through research and analytical approaches, the study focuses on a theoretical analysis of The Key for trumpet and piano. In addition to using available materials and resources, the author was in direct contact with James Wintle for the study. Chapter 1 presents the purpose of the study, the state of research, and method. Chapter 2 is devoted to James Wintle's biography. Chapter 3 examines Wintle's compositional style, including influences and musical language. Chapter 4 offers a theoretical analysis of all four movements of The Key, ...
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Camille Saint-Säens'  Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective

Camille Saint-Säens' Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective

Date: December 2004
Creator: Yoo, Seung Won
Description: The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. ...
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A comparison of Ferruccio Busoni's two original piano compositions, Indianische Fantasie for piano and orchestra, Op.44, and Indianisches Tagebuch Book I.

A comparison of Ferruccio Busoni's two original piano compositions, Indianische Fantasie for piano and orchestra, Op.44, and Indianisches Tagebuch Book I.

Date: May 2009
Creator: Lim, Rira
Description: This study compares Busoni's two original piano compositions, Indianische Fantasie for piano and orchestra (Indian Fantasy), op.44, and Indianisches Tagebuch (Indian Diary) Book I. They represent Busoni's late period of maturity and new aesthetical points of view on music. Both pieces are originated from Natalie Curtis's The Indian's Book, and particularly the Indian Diary is very closely related to the Fantasy, for three of the four pieces in the former work directly quote sections from the latter. To provide clear understanding of the composer's intention in creating two different versions from the same origin, this research examines how Busoni demonstrates his aesthetical ideas of new music in these two Indian piano compositions throughout structural and formal analysis. Busoni's adaption of Indian folk song in these works for the piano aimed at integrating Indian folk element with his personal harmonic language, both of which emphasized freedom in nature.
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Style And Performance Aspects In The Newly Published Piano Sonata By Witold Lutos?awski

Style And Performance Aspects In The Newly Published Piano Sonata By Witold Lutos?awski

Date: December 2011
Creator: Park, Eun Jeong
Description: Polish composer Witold Lutos?awski (1913-1994) was one of the most representative composers of the twentieth-century. Lutos?awski’s style progressed from traditional to modern avant-garde. His Piano Sonata belongs to his first compositional period, and is the only extant work from his student years. His remarkable synthesis of classical structures and impressionistic harmonic sonorities distinguishes the Sonata. Lutos?awski’s Piano Sonata is divided into three movements, and each movement is written in traditional sonata allegro form, sonata form without development and modified sonata form respectively. The Sonata contains both considerable elements of Classicism and Impressionism, as well as traits of Post-romanticism and Neoclassicism. The evolution of Lutos?awski’s compositional language can be better understood through an in-depth study of his Piano Sonata. Although Lutos?awski did not allow the work to be published during his lifetime, this occurred posthumously, ten years after the composer´s death. The recent publication of the work, paired with its substantial technical demands, both account for the fact that the Sonata is not frequently performed. The complex textures of Sonata place extensive technical and musical demands on the performer. In this study, a detailed description of the composer´s early style and influences as relates to this work will be analyzed and ...
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Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovsky’s Piano Concerto No.1

Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovsky’s Piano Concerto No.1

Date: May 2007
Creator: Liu, Louise Jiayin
Description: This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of ...
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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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The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski

The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski

Date: May 2007
Creator: Choi, Yun Jung
Description: The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski's compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one-movement concerto - would aid scholars and performers alike in better understanding the composition's engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. Chapter 1 provides biographical and factographical information about Paderewski as a composer, pianist, and statesman. Chapter 2 examines characteristics of Polish folk music with regard to melody, rhythm and tempo. Musical examples of the Polish folk songs ...
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The Compositional Transformation and Musical Rebirth of Leo Ornstein

The Compositional Transformation and Musical Rebirth of Leo Ornstein

Date: December 2011
Creator: Bonney, Michael
Description: This study focuses on the transformation of Leo Ornstein’s (1893-2002) musical language of his early years into the strikingly different approach found in his later years. Ornstein’s initial radical compositions from the mid-1910s were no doubt representative of the direction in which modern music was moving. Despite the intense fame and notoriety of his early works, Ornstein did not feel connected to the trends of modern music development, and by the end of the 1930s he withdrew from the public scene and turned to teaching. By the 1950s Ornstein had been almost forgotten, and in later life he became a very private person. He worked in almost total isolation composing a substantial amount of music well into his nineties, and died at the age of 109. The music of Ornstein’s “second life” is very different from the initial works of his early years, and most of it is unknown to the public and should be brought into scholarly light, especially since Ornstein has been considered by historians as a pivotal figure in twentieth-century music. This study examines selected music from different stages of Ornstein’s career: Wild Men’s Dance (1913), Suicide in an Airplane (1913), Arabesques (1918), A Long Remembered Sorrow ...
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Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers

Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers

Date: May 2010
Creator: Thomas, Lisa Cheryl
Description: My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has ...
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