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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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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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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The Legacy of Theodore Leschetizky as Seen through His Pedagogical Repertoire and Teaching Style

The Legacy of Theodore Leschetizky as Seen through His Pedagogical Repertoire and Teaching Style

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Date: May 2010
Creator: Serrin, Bret
Description: Theodore Leschetizky's singular pianistic legacy survives to this day because of his revolutionary pedagogical methods and his compositions for the piano repertory. The amalgamation of these two aspects formed his distinctive contributions to the fields of piano and piano pedagogy and left an indelible mark on the history of the instrument. His students lead an impressive list of the greatest artists of the previous century, each influencing the evolution of pianism with their own remarkable style and personality. While Leschetizky was arguably without peer as a pedagogue, many pianists today are unaware of the vast number of compositions that he wrote. These pieces were intended not only for the concert stage, but also as a very specific pedagogical repertoire that he used within his own teaching studio. This repertoire comprises a vital component of the Leschetizky legacy, albeit one which is often slighted in comparison. It is imperative that the pianists of our current generation understand the dual aspects of his contribution to our art form, in order to fully grasp the way in which he has changed the face of pianism. The purpose of this dissertation and lecture recital is to enumerate the various aspects that constitute the dual ...
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Stylistic Elements within the Texture and Formal Structure of Ernst von Dohnányi's Four Rhapsodies, op. 11

Stylistic Elements within the Texture and Formal Structure of Ernst von Dohnányi's Four Rhapsodies, op. 11

Date: May 2010
Creator: Hwang, So Myung (Sonia)
Description: Hungarian pianist, composer, conductor, teacher and administrator, Ernst von Dohnányi (Ernö Dohnányi in Hungarian), was considered one of the most versatile musicians and the first architect of Hungary's musical culture in the late nineteenth and early twentieth-century. Dohnányi composed the Four Rhapsodies, op. 11, between 1902 and 1903, and among his many piano compositions, op. 11 are regarded as some of his most substantial works. Without directly imitating the earlier works of Liszt and Brahms, Dohnányi contributed to the rhapsody tradition with op. 11 by using his own unique stylistic compositional elements in the textural and formal structure. Texture and form are the most indicative characteristics of his rhapsodic language because of the improvisational nature that permeates his compositional style in the rhapsodies. In this dissertation the works are examined from within its textural and formal structure. Within texture, rhythm and accompanimental figurations are examined. Each rhapsody's structural organization, including references to eighteenth-century forms, and the cyclical elements in the work is analyzed. Background information on Dohnányi and a brief history of the rhapsody in the 19th century is also included.
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Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57

Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57

Date: December 2006
Creator: Ng, Lok
Description: China's role in Western music is ever-expanding. Echoing the growth of classical music in China is the importance of Chinese musicians in the global music world. However, it is easy to forget that Western classical music is a foreign import to China, one that has been resisted for most of its history. The intent of this study is to evaluate the role of Chinese music in the Western classical world. This includes Western education, Western repertoire, and also a historical exploration into the mutual influence of the two styles. One Chinese composition in particular, Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57, is selected to analyze the Western and Chinese elements present in the work. This analysis will shed light on the relationship of the two styles and how they amalgamate in modern Chinese music. Although Western classical music today has a strong foothold in China, Chinese contributions to piano literature are largely unknown to the West. China possesses one of the richest musical histories in the world, one which until the twentieth century has largely remained unaffected by Western elements. Its musical heritage extends over thousands of years, deeply rooted in tradition and nationalism. Over the ...
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A study of Franz Liszt's Totentanz: Piano and orchestra version, and piano solo version.

A study of Franz Liszt's Totentanz: Piano and orchestra version, and piano solo version.

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Date: December 2006
Creator: Kim, Min
Description: Undoubtedly, Totentanz has been one of the most famous works by Franz Liszt. Totentanz has been recorded by many pianists and addressed in much of the vast literature about Liszt and his works; however, little research has been focused on this work. Most studies of Totentanz address only the historical background of the piece in relation to the theme based on Dies irae. Currently, there are no specific studies about the solo piano or two piano versions and only one recording was located. Liszt's own piano solo transcription of this famous work is an excellent addition to the concert repertoire. Totentanz consists of six variations that include canonic and fugato sections. The main theme is based on the Gregorian chant Dies irae, a melody that has been used by many other composers, most notably Berlioz in Witches Sabbath of Symphonie fantastique, op. 14 and Rachmaninoff in Rhapsody on a Theme of Paganini. This study contains five chapters. Chapters I and II provide background information, historical background and influences of Totentanz. Chapter III presents an outline of Liszt's achievement as a transcriber. Liszt revised his own works numerous times from the 1840s and 1850s, including Transcendental Etudes, Paganini Etudes, and piano ...
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Piano Concerto No. 4 in D Minor, Op. 70 by Anton Rubinstein: An analytical and historical study.

Piano Concerto No. 4 in D Minor, Op. 70 by Anton Rubinstein: An analytical and historical study.

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Date: May 2005
Creator: Peevey, Pui-King Cecilia
Description: Anton Rubinstein was primarily recognized as one of the greatest pianists of his time. However, Rubinstein yearned for recognition as a composer and worked prodigiously to realize that goal. Unfortunately, Rubinstein's works were virtually unknown today. One of Rubinstein's finest compositions, the Piano Concerto in D Minor, op. 70 has been the most frequently performed. It is one of the first "Russian" concertos that was written by a Russian composer, and was performed in Russian concert halls instead of the homes of Russian aristocracy. It is also considered the most successful and harmonious convergent of various musical styles which influenced Rubinstein. However, there is no formal, detailed analysis of the Concerto in the entire music literature. Therefore, the main purpose of this dissertation is to provide a thorough study of the Concerto from an analytical and historical standpoint. Rubinstein was also one of the most eminent educators in Russia. The St. Petersburg Conservatory of Music, which Rubinstein helped found in 1862, has to this day produced some of the most influential musicians in Russia. The other purpose of this dissertation is to evaluate Rubinstein's role as music educator. An overview of Rubinstein's works for piano and orchestra offers a general ...
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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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The Six Piano Sonatas of James Sellars: Aspects of Form, Rhythm, Texture, and Style

The Six Piano Sonatas of James Sellars: Aspects of Form, Rhythm, Texture, and Style

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Date: August 2003
Creator: Solomons, John
Description: James Sellars has established himself as one of America's foremost composers whose eclectic style reveals a wealth of influences. His artistic combination of various traditional and avant-garde techniques, along with his sensitive and expert craftsmanship has earned him an important position in contemporary American music. Sellars' compositional styles have encompassed neo-Romanticism, in his early days, through post-serialism and Dada to an eclectic, post-Romantic style utilizing popular elements including electro-acoustic techniques. His extensive catalog of over 150 compositions includes works for orchestra, opera, chorus, dance, chamber, voices with ensemble, solo voice, piano, instrumental solos, band, and media. Sellars' compositions for piano solo span a 38-year period and total 17 works, the most important of which are his six one-movement sonatas, which represent, according to Sellars, "a journey from modernism to post-modernism." Their value lies in their eclectic stylistic approaches, artistic nd technical challenges, and pianistic effectiveness. The first three sonatas, incorporating post-serial elements, fall into a modernist stylistic stance while numbers four through six, in postmodern style, contrast one another drastically. Sonata Brasileira, recalls the broad sweeping gestures of the Romantic period; Sonata V reveals the influence of the absurdist Dada movement; and the last sonata Patterns on a Field, blends ...
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A study of Sukhi Kang's Inventio for Piano and Electronic Sound

A study of Sukhi Kang's Inventio for Piano and Electronic Sound

Date: August 2007
Creator: Hwang, Hooshik
Description: This comprehensive study of Inventio for Piano and Electronic Sound by contemporary Korean composer Sukhi Kang focuses on how the composer transforms music with Korean traditional rhythmic elements into electronic sound, and how he combines the electronic sound with piano. The study aims to aid performers and audiences in understanding and appreciating the work. Besides providing a biography of Kang, including lists of his other compositions and significant performances and recordings, this study provides detailed information about books, articles, and academic publications by and about Kang. Interviews with the composer provide first-hand instructions for performers on how to play Inventio. All examples are from the score.
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An historical and analytical survey of the Transcendental Etudes by Sergei Liapunov.

An historical and analytical survey of the Transcendental Etudes by Sergei Liapunov.

Date: August 2007
Creator: Chernyshev, Igor
Description: Sergei Mikhailovich Liapunov (1859-1924) was a distinguished Russian composer, pianist and teacher of the late 19th and early 20th century whose works are relatively unknown. His piano pieces were highly regarded and performed by pianists such as Konstantin Igumnov, Josef Hofmann, Josef Lhévinne, Ferruccio Busoni, and Vladimir Horowitz. However, they are rarely included in modern pianists' repertoire both in Russia and abroad, and are often viewed merely for their historic significance. Works of Liapunov are characterized by a life-affirming character and monumental beauty largely inspired by the images of nature as well as the sounds of his native Russian folk songs and dances. His music rarely conveys the urgency or profound melancholy which is often seen in the music composed during the same period by Rachmaninoff and Scriabin. Liapunov continued and enriched the great traditions of Russian music started by Glinka and The Mighty Five. He did not discover bold new ways of composing, and at the same time did not succumb to the temptation of following contemporary musical trends. The Twelve Transcendental Etudes, op. 11, dedicated to the memory of Franz Liszt, are masterpieces of immense value both from a technical and artistic standpoint. Just like Liszt's études, they ...
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Franz Liszt: (1811-1886): The Two Episodes from Lenau's Faust as a Unified Work

Franz Liszt: (1811-1886): The Two Episodes from Lenau's Faust as a Unified Work

Date: August 2007
Creator: Grobler, Pieter Johannes Christoffel
Description: Franz Liszt composed his Two Episodes from Lenau's Faust between 1856 and 1861. The composer intended to portray two emotionally contrasting scenes from Lenau's Faust in a set for orchestra, the first being The Night Procession and the second The Dance in the Village Inn. Liszt created a duet version of the orchestral set, and also a solo piano version of The Dance in the Village Inn, known as the Mephisto Waltz No. 1. The set was not performed together due to the immense popularity of The Dance in the Village Inn but also due to an unfortunate publication history resulting in the pieces being published separately by Schuberth publishers, published years apart from each other. As a result The Night Procession is largely forgotten today and The Dance in the Village Inn is interpreted as a single work outside of its context in a set. In this dissertation the works are examined from within its context in a set. Background information includes information on Liszt's student Robert Freund (1852-1936), and a solo piano transcription of the orchestral alternative ending to The Dance in the Village Inn. A comparison between Liszt's orchestral, solo and duet versions of the Mephisto Waltz ...
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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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East Meets West: Nationalistic Elements in Selected Piano Solo Works of Chen Yi

East Meets West: Nationalistic Elements in Selected Piano Solo Works of Chen Yi

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Date: August 2001
Creator: Li, Songwen
Description: Since the founding of "New China" in 1949, the musical culture has undergone numerous periods of identity crisis, particularly during the ten-year "Cultural Revolution," due to the fact that music had always been used to serve the needs of political propaganda. Even the development of a "National Style" encouraged by the central government was a political "brainchild" under the socialist ideology. Nevertheless, professional musicians struggled to create a new path in musical composition while walking on the thin ice of harsh political climate. Isolated from the rest of the world for almost two decades, China's musical development had not been able to keep pace with the world until the late 1970s, when the central government reevaluated its agenda on how to lead the country. This change of political environment eventually led to a more open society. The newly established contact with the outside world in the musical scene lent great opportunities for Chinese musicians to study the newest thinking about music, which ultimately, in the early 1980s, fostered the emergence of a new "National Style"- the so-called "New Wave." The style of "New Wave" differs drastically from the earlier "National Style" in that it employs primarily twentieth-century compositional techniques in ...
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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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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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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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Peter Lieberson's First Piano Concerto:    A Buddhist-inspired poetic vision realized through twelve-tone language, other contemporary compositional techniques, together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki

Peter Lieberson's First Piano Concerto: A Buddhist-inspired poetic vision realized through twelve-tone language, other contemporary compositional techniques, together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki

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Date: August 2002
Creator: Méndez-Flanigan, Maria Gisela
Description: The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI ...
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Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style.

Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style.

Date: May 2003
Creator: Nelson, Anne Marie
Description: The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's ...
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