Doctoral Recital: 2008-02-29 - Mikyung Lim, piano
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- Haydn: Piano Sonata in E flat Major, Hob. XVI:49 (1790) - I. Allegro 5:02
- Haydn: Piano Sonata in E flat Major, Hob. XVI:49 (1790) - II. Adagio cantabile 8:09
- Haydn: Piano Sonata in E flat Major, Hob. XVI:49 (1790) - III. Finale (Tempo di Menuetto) 3:26
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - I. Eintritt (Entrance) 1:35
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - II. Jager auf der Lauer (Hunter on the Watch) 0:59
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - III. Einsame Blumen (Solitary Flowers) 1:52
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - IV. Verrufene Stelle (Haunted Spot) 3:05
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - V. Freundliche Landschaft (Pleasant Landscape) 1:04
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - VI. Herberge (Roadside Inn) 1:54
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - VII. Vogel als Prophet (The Prophet Bird) 2:53
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - VIII. Jagdlied (Hunting Song) 2:06
- Schumann: Waldszenen (Forest Scenes), Opus 82 (1849) - IX. Abschied (Farwell) 2:55
- Prokofiev: Piano Sonata in C minor, Opus 29, No. 4 (1917) - I. Allegro molto sostenuto 5:02
- Prokofiev: Piano Sonata in C minor, Opus 29, No. 4 (1917) - II. Andante assai 7:41
- Prokofiev: Piano Sonata in C minor, Opus 29, No. 4 (1917) - III. Allegro con brio, ma non leggiere 3:08
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The Influence of Norwegian Folk Elements on Thomas Dyke Tellefsen’s Mazurkas Op 3 (1849) and Op 14 (1853) (Thesis or Dissertation)
Although Thomas Dyke Tellefsen’s mazurkas have been considered mere imitations of Chopin’s musical idiom, his mazurkas are closely related to Norwegian folk elements. Tellefsen adopted Norwegian folkloric elements from his own country and infused Norwegian spirit into his works to create his own musical language. To trace the Norwegian folk influence, this study examines folk dance (the springar), folk instruments (the hardanger fiddle and the langeleik), and folk melodic and rhythmic motifs. As the result, this research demonstrates that Tellefsen’s mazurkas were influenced by a phrase structure of Norwegian springar dance music and the exact sound effect of folk instruments (the hardanger fiddle and the langeleik) as well as Norwegian folk rhythmic and melodic formulas which are frequently used in Norwegian folk tunes. Furthermore, the comparison between Tellefsen and Chopin’s mazurkas demonstrates that although their mazurkas seem to have a similar musical style, Tellefsen’s mazurkas include his own traditional Norwegian folk aesthetic, which present original contributions to the genre.
Dissertation: htt...
Doctoral Recital: 2008-02-29 - Mikyung Lim, piano, audio recording, February 29, 2008; Denton, Texas. (digital.library.unt.edu/ark:/67531/metadc67423/: accessed July 17, 2018), University of North Texas Libraries, Digital Library, digital.library.unt.edu; crediting UNT Music Library.