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

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

An Analysis of the Composition Process of Bartók's Eight Improvisations on Hungarian Peasant Songs, Op. 20

Description: This is a study of Bartók's compositional process as it relates to the Improvisations, Op. 20. The study, which focuses on the analysis of the draft manuscript 50PS1, compares the draft and other relevant sources with the final composition. Bartók's framework for the entire Improvisations is based on a compositional strategy of pairing individual improvisations combined with systematic revision of the draft copy by the introduction of tritones as tonal equivalents and movement by fifths from semitones, to achieve structural coherence in the individual improvisations. The tonic-dominant relationship is used to rearrange the individual improvisations in the draft and tritones as tonal equivalents are used to propel the movement between the improvisations to produce a coherent whole.
Date: May 2000
Creator: Kochbeck, Olivia M.

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

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.
Date: August 2006
Creator: Adduci, Kathryn James

Asserting Identity in Wagner's Shadow: The Case of Engelbert Humperdinck's Königskinder (1897)

Description: Engelbert Humperdinck (1854-1921), who was considered a Wagnerian due to to his past work in Bayreuth and the Wagnerian traits of his Hänsel und Gretel, seems to have believed that to define himself as a composer, he had to engage somehow with that designation, whether through orthodox Wagner imitation or an assertion of his independence from Wagner's musical legacy. The latter kind of engagement can be seen in Humperdinck's Königskinder (1897), in which he developed a new kind of declamatory notation within the context of melodrama, thus fulfilling Wagnerian ideals as well as progressing beyond them. The effectiveness of Humperdinck's effort is seen in the ensuing critical reception, in which the realities of being heard as a Wagnerian composer are clarified.
Date: August 2004
Creator: Kinnett, Forest Randolph

Chen Yi and Her Choral Music: A Study of the Composer's Ideal of Fusing Chinese Music and Modern Western Choral Traditions

Description: Chen Yi's music is well accepted and recognized nationally and internationally through an increasing number of commissions and performances. Major symphony orchestras, choruses, institutions and companies request her compositions on many occasions in order to increase understanding and exploration of Chinese influences on western classical idioms. This study provides the first detailed discussion of her compositional mastery and her fusion of Chinese music with the language of western choral traditions. Chen Yi's reputation as a prominent orchestral composer does not restrain her passion to apply instrumental techniques and materials to her quality choral compositions. This study focuses on (1) how hardship and various life experiences during the ten-year Cultural Revolution shaped Chen Yi's musical inspirations; (2) how the influences of major musical genres, such as traditional Chinese folksong, jingju, model play, 19th-20th century nationalism, impressionism, and serialism are consolidated in her kaleidoscopic compositional techniques; and (3) the application of Chinese languages, pedagogical concepts, and extra-musical elements, such as Chinese poems, paintings, and calligraphies, revealed in her original, intelligent and resourceful choral creations.
Date: December 2006
Creator: Yeung, Hin-Kei

Construction Applications, Practices, and Techniques of Natural Trumpets: A Comparative Analysis of Baroque and Modern Era Natural Trumpet Construction Methods

Description: This work discusses in detail the history of, and processes associated with the construction of baroque era trumpets then and now. The work addresses metallurgy, tools, construction methods, and playing characteristics of instruments built with old techniques and modern techniques.
Date: December 2006
Creator: Wells, Lawrence E.

A Critical Study of Arnold Schoenberg's Chamber Transcription of Gustav Mahler's Das Lied von der Erde

Description: Toward the end of his life, from 1908 to 1909, Gustav Mahler (1860-1911) composed Das Lied von der Erde (The song of the earth). This piece is a cycle of six song movements based on seven poems selected from Die chinesische Flötem - Nachdichtungen chinesischer Lyrik (The Chinese flute - free adaptation of Chinese lyric poetry) by Hans Bethge. The Chinese verse was written by Li-Po (numbers 1, 3, 4 and 5), Tchang-Tsi (number 2), and Mong-Kao-Jen and Wang-Wei (combined in number 6). Subsequently, in 1921, Arnold Schoenberg reduced the work to a simple chamber version transcription from Mahler's original massive score for full orchestra, a version completed in 1983 by Rainer Riehn. While the main melodic material in the vocal parts was maintained, the orchestral parts underwent substantial changes. This dissertation explores Mahler's reconfiguration of textual material and the setting of these texts in the orchestral medium. After consulting the various textual editions, I establish misreading and translational differences from the original Chinese through its various Western European incarnations; how and why Mahler chose the Bethge edition; what influenced his specific selection of poetry; and how these poems inform one another and the work as a whole. I also explore the crucial role of instrumentation and orchestration in text setting, and how his instrumentation of these translated "exotic" texts stands in dialogue with the nineteenth-century tradition and emergent frames of nationality. This dissertation also focuses on Schoenberg's instrumentation, arrangement, and orchestration as re-conceptualized and restructured from Mahler's original six movements. While the dissertation synthesizes the views of various scholars, many original observations will be offered, as few articles substantively consider this transcription of one of the most revered and reviled composers of the late-nineteenth century by one of the most revered and reviled composers of the twentieth-century. The transcript ...
Date: August 2006
Creator: Sun, Ai-Kuang

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

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 the course of processing nationalistic elements. Throughout the development of "New Wave," Chen Yi was one of the most avid proponents and leading figures.
Date: August 2001
Creator: Li, Songwen

Extemporizing Reawakened: Saxophonist Branford Marsalis's Approach to the Cadenza for Concertino da Camera for Alto Saxophone and Eleven Instruments by Jacques Ibert

Description: Whether provided by a composer, written out by a performer or completely improvised, the cadenza became a vehicle for performers' creativity, lyricism and technical prowess in the eighteenth and nineteenth centuries. The debate about whether to notate or improvise cadenzas, a question as old as the cadenza itself, continues today. Saxophonists have not been involved in this debate, since the instrument is a product of the mid-nineteenth century and was in its infancy just as the practice of improvising cadenzas was fading. This study documents an unprecedented, recently-recorded, improvised cadenza in one of the most significant twentieth-century saxophone works: Jacques Ibert's Concertino da Camera for Alto Saxophone and Eleven Instruments (1935). Saxophonist Branford Marsalis's neo-cadenza for Ibert's composition presents an aggregate of the twenty-first-century performer improvising a cadenza to a twentieth-century work, in a tradition that was common centuries ago. The document begins with an inquiry into improvised cadenzas, and proceeds to an examination of the performance history of the cadenza for the Concertino da Camera. Twenty professionally-recorded versions of the cadenza are presented in order to understand the performance history of the cadenza, and to place the Marsalis cadenza into context. This research culminates in a transcription and analysis of the cadenza as improvised and recorded by Marsalis. Remarks from a personal interview with Marsalis are also included.
Date: December 2006
Creator: James, Matthew T.

Five Seasons: A composition for flutist and percussionist

Description: Five Seasons is a musical work for flute and percussion. The flutist alternately performs on the C flute with a B foot, alto flute, piccolo, and bass flute in each movement. The percussionist also plays different instruments in each movement: the vibraphone for Mid-Summer; the xylophone for Fall; the woodblock, temple block, and cowbells for Spring; the glockenspiel for Summer; and the marimba for Winter. The five movements of this work - Mid-Summer, Fall, Spring, Summer, and Winter - are based on a combination of Eastern performing practices with Western instruments. The musical characteristics are based on the techniques of fifteenth-century (e.g., isorhythmic technique) and twentieth-century Western music.
Date: August 2001
Creator: Kim, Chol-Ho

Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony

Description: Gottlob Harrer (1703-1755) composed at least twenty-seven sinfonias for his patron Count Heinrich von Bruhl in Dresden from 1731-1747, placing them among the earliest concert symphonies written. Harrer's mostly autograph sinfonia manuscripts are significant documents that provide us with a more thorough understanding of musical activities in and around Dresden. Several of the works indicate topical references, including dance, march, and hunt allusions, that comment on the Dresden social occasions for which Harrer composed these works. Harrer mixes topical references with other gestures in several of his sinfonias to create what I believe is an unrecognized affective language functioning in instrumental works of the time. An examination of the topical allusions in Harrer's works solidifies their connection to the social milieu for which he wrote them, and therefore better defines the genre of the concert sinfonia of the time. The first part of this study of Harrer's sinfonias addresses evidence about the composer, his patron, Dresden society, and the circumstances surrounding the first performances of several works, musical evidence of the composer's stylistic and formal approach to the genre, and the rhetorical meaning of topical gestures in the scores in ways not yet explored. In this dissertation, I demonstrate that the stylistic and formal characteristics of Harrer's sinfonias were often influenced by the function and context of their premieres. Part Two of the dissertation provides transcriptions of Harrer's sinfonias, making them available for performance and further study in the hope that such a holistic approach will enrich our appreciation of musical life in Dresden in the 1730s.
Date: August 2003
Creator: Rober, Russell Todd

Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others

Description: Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
Date: May 2000
Creator: Bogle, James Michael

The Long Chorale Preludes of J. S. Bach (1685-1750): Study of Accompaniments together with Three Recitals of Selected Works by Dietrich Buxtehude (1637-1707), J. S. Bach, Louis Vierne (1870-1937), and Others

Description: Johann Sebastian Bach's chorale preludes are varied and artistic not only in the treatment of chorale melodies, but also in the accompaniments of those chorale melodies. This study examines the accompaniments of Bach's long chorale preludes, focusing on identifying the various types and the characteristics that make them unique. This study investigates the two broad categories of accompaniments depending on whether the motives are chorale-derived or independent of the chorale. While the chorale prelude accompaniments in the first large group are closely related, the accompaniments of the chorale preludes in the second group stand independently and illustrate the vast range of Bach's compositional skill. Both groups demonstrate Bach's interest in expanding his predecessors' models, a trait that can be traced throughout all of Bach's compositional history.
Date: May 2006
Creator: Lim, Aesook

Memento mori: Concert for Violoncello and Orchestra

Description: Death, as a subject, has been treated extensively throughout history, both in literature as well as in music. The focus of Memento mori is to portray the inevitability of death through music. The first part of the document is an essay exploring the topic of death, its inevitability, unpredictability and the fragility of life. This section also includes a number of examples of composer's whose works have influenced the composition of the piece. The title of the work is meant to reflect that death catches up with all of us and that humans no matter how invincible they feel at certain stages of life will, eventually, succumb to death. The second part of the document is the notated orchestral score. The work is for full orchestra and solo violoncello. It is in three acts that loosely resemble three stages of life; Youth followed by life in adulthood and finally death. The work is not programmatic and the piece's formal structure varies from a traditional concerto, for although comprised of three distinct acts, there are no pauses between them. The entire work is meant to be dark and morbid and the specter of death looms throughout the piece.
Date: December 2006
Creator: Fakhouri, Fouad K.

Michael Daugherty's Red Cape Tango: A Comparative Study of the Original Version for Symphony Orchestra and its Transcription for Wind Orchestra, with Four Recitals of Selected Works by Beethoven, Dvorák, Verdi, Bartók and Daugherty

Description: Michael Daugherty has created his niche in the music world by composing works inspired by icons of American popular culture. Red Cape Tango is the final movement of his Metropolis Symphony, a work inspired by the life and times of the comic book character Superman. This movement in particular deals with the death of the superhero through the use of musical elements, most notably the Latin Sequence of the Mass for the Dead, Dies irae. Daugherty's ingenuity in blending profoundly dark subjects with humor is particularly evident in this work. Death is personified as a temptress and lures Superman through the power of a seductive tango. This study concentrates on Daugherty's compositional style and its impact in musical circles. A transcription for wind orchestra was created by another composer/conductor precisely because of the need to bring such an important work to another medium, thus making it accessible to a wider audience. In addition, this study looks at the changes in instrumentation necessary to create a second, equally formidable version of the work.
Date: May 2002
Creator: Ortega, Arturo

Music preferences, music and non-music media use, and leisure involvement of Hong Kong adolescents.

Description: The study sought to determine the relationships of preference responses to grade, gender, familiarity, musical training, peers'/parents' listening habits, music media use, and listening contexts. Grade six through nine Hong Kong students (N = 310) completed the audio preference test followed by verbal responses to training, peers'/parents' preferences, leisure/music media involvement, and listening context. Results indicated: The preferred genres, in descending order, were Western pop/rock, Cantopop/rock, Western classical; the disliked genres were jazz, Chinese, and non- Western/non-Chinese. Preference correlated strongly with genre familiarity. Pop genres were the most familiar to all adolescents. The students' preference toward Western pop/rock and Cantopop/rock associated with several listening contexts: solitary listening, having great freedom to choose one's desired music for listening, listening to music in one's room, and listening to music as background activity. The adolescents expressed that their leisure activities were spent with their family and friends. However, they made it clear that music listening was a personal activity that very likely was listened to alone. On all listening occasions, the girls exhibited a more positive response than the boys did. With four to five hours daily leisure time, the adolescents watched TV for three to four hours while spending less than two hours on listening to recorded music, and less than an hour on listening to radio music, MTV/karaoke, and music websites. Cantopop/rock was the most pursued music style in terms of the records bought, concerts attended outside of school, their peers', and parents' most-listened-to music. Some weak correlations of preference with grade and gender were identified: the grade six students showed more tolerance to Chinese and non-Western/non-Chinese music. Boys preferred jazz more than the girls did. Private music study and extracurricular musical experiences related to Western classical and non-Western/non-Chinese music preferences whereas school music training failed to show any association with ...
Date: December 2001
Creator: Hui, Viny Wan-Fong

The Nightingale in Poetry and Music

Description: This thesis surveys a variety of songs and arias for high soprano which feature the nightingale; examines the musical elements that symbolize, refer to, or imitate the nightingale; and compares these musical elements with transcriptions of the nightingale's song. The first chapter reviews the symbolic development of the nightingale and its role in poetry and literature. The interior chapters address a selection of musical compositions that feature the nightingale and its song. The final chapter establishes a relationship between the sound of the actual sound of the nightingale and the musical gestures created by composers to imitate the nightingale.
Date: May 2003
Creator: Blizzard, Amy

An Overview and Performance Guide to Manuel Ponce's Sonata III for Solo Guitar

Description: Composed in 1927 and dedicated to Segovia, Ponce's Sonata III, one of the staples of the classical guitar repertoire, is the focus of this paper. To put this piece into proper perspective among Ponce's other works, biographical information leading up to the composition of the piece is presented first. Each of the three movements is then analyzed with regard to formal construction as well as harmonic and melodic language. Analysis is an important precursor to actually playing the piece, as Sonata III is a work that departs from Ponce's previous compositional style. The main portion of this paper addresses the preparation and interpretation of Sonata III. The insight gained through initial analysis of the piece is used to arrive at a musically satisfying interpretation of the work. Specific performance suggestions are included. Technical issues are addressed and possible solutions are presented. Alternate fingerings are provided to alleviate some of the common technical challenges the guitarist will encounter. A transcription and discussion of the Segovia revisions are also present. The paper concludes with general suggestions for improving performance that would be applicable to other works for guitar as well. This synthesis of biographical information, analysis, editorial options and performance suggestions, has hitherto never been never been done for this great work.
Date: August 2006
Creator: Smith, Jay

Overview of America's Professional Choirs: Considerations for Establishing, Maintaining and Succeeding in the Creation of a Professional or Community Choir in the United States

Description: This document chronicles the history, development, process, and impact of three of the United States' first and most successful professional choirs. Representing the impact of these three choirs demonstrates a need for current professional or community choirs today. Four conductors of current professional and community choirs were interviewed and discussed elements for establishing, maintaining and succeeding in creating of a professional or community choir in the United States today. This document impresses the importance and considerations for a successful endeavor when establishing a professional or community choir.
Date: December 2006
Creator: Oppenheim, Joshua J.

Pedagogical style and influence of Nadia Boulanger on music for wind symphony, an analysis of three works by her students: Copland, Bassett, and Grantham.

Description: An examination of the influences on twentieth-century wind music would be incomplete without the consideration of composer, organist, pianist, conductor, teacher, and critic Nadia Boulanger (1887-1979). Students from the United States began studying with Boulanger between World War I and World War II, and continued to travel to study with her for over fifty years. The respect awarded this legendary French woman was gained as a result of her effectiveness as a teacher, her influence on the development of each student's unique compositional style, and her guidance of an emerging American musical style. The correlation between the teacher's lessons and the compositional output of her students must be explored. Boulanger did not compose specifically for winds, and she did not encourage her students to compose for the wind symphony. However, this document will outline the influence that this powerful pedagogue exerted over the creation of repertoire by her students by providing insight into the pedagogical style and philosophical foundations of Boulanger as reflected in the literature and by the writings, comments, and compositions of three successful students who composed literature for the wind symphony: Aaron Copland (1900-1990), Leslie Bassett (b. 1923), and Donald Grantham (b. 1947). Three significant works for winds will be considered including Copland's Emblems, Bassett's Lullaby for Kirsten, and Grantham's Variations on an American Cavalry Song.
Date: May 2004
Creator: McCallum, Wendy M.

A Performer's Guide to John Musto's Penelope: A Cycle of Seven Songs for Soprano and Piano

Description: Award-winning composer John Musto stands at the forefront of modern American art-song composition. Many of his songs, such as "Litany" from Shadow of the Blues, have already achieved a place in the standard contemporary repertory for singers. His compositional technique weaves influences of jazz, blues, ragtime, and popular music with classical technique to make music that is decidedly modern but accessible and well liked both by critics and audiences. Unfortunately, though he is still actively composing, very little has been written about Musto and there is a lack of information available about his more recent compositions. This performance guide addresses one of Musto's acclaimed song cycles, Penelope, (a cycle of seven songs for soprano and piano) commissioned and premiered in 2000. The story of the cycle is an updated version of the character Penelope from Homer's The Odyssey and was a collaboration between Musto and poet Denise Lanctot. Including interviews with Musto, and his wife, soprano Amy Burton, who premiered the cycle and for whom it was written, the document provides background information on how the cycle was conceived and gives in-depth performance information on each of the seven songs of Penelope. In addition to musical examples and poetry from the songs, this study also contains a catalogue of Musto's compositions listing premiere dates, performers, and information about the commission of each work.
Date: December 2005
Creator: Kanakis, Karen

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

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 provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.
Date: August 2002
Creator: Méndez-Flanigan, Maria Gisela

The Piano as an Orchestra: The Accompanist and the Twentieth-Century Orchestral Reduction

Description: The musical developments of the 20th century have expanded the role of the accompanist. As the compositional output of our time increases, and the opportunity to perform as soloist with an orchestra diminishes, piano reductions of an orchestral score are becoming the most frequent vehicle for concerto performances of twentieth and twenty-first century instrumental literature. While the current state of research provides solid support to many accompanists, it is in the area of instrumental accompanying, especially with regard to the challenges of playing a reduction of an orchestral score with an instrumental soloist, that the lack of discourse becomes strikingly evident. It is the goal of this study to provide the instrumental accompanist with concrete, practical approaches and considerations in order to perform an orchestral reduction in a manner consistent with the integrity of the score. Problems such as identifying the represented orchestral instruments, delineating importance of musical lines, and basic uses and misuses of pedal, articulation, and rubato are discussed. The pianist is led through ways of deciphering and negotiating specific passages, in order to guide the accompanist through the possible pitfalls and challenges unique to many orchestral reductions. By focusing on twentieth century reductions, providing examples of problems and discussing ways to solve them, the pianist will able to apply these to any reduction encountered, not just those specifically illustrated here. These basic principles of discerning common problems and appropriately reconciling them are then applied in a more advanced form to Robert Nelson's Concertino for Baritone Saxophone (1996). Through commentary from the composer, and a comparison of the orchestral score to the reduced piano score, the accompanist will explore detailed techniques of performing this work in a manner that upholds the original “orchestral” intent of the music.
Date: August 2002
Creator: Lington, Victoria DiMaggio

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

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 idea of his compositional style. Literature on Anton Rubinstein currently available is limited. The two most valuable primary sources are Rubinstein's Autobiography of Anton Rubinstein, and Rubinstein's A Conversation on Music. Jeremy Norris's The Russian Piano Concerto, Volume I: The Nineteenth Century provides an insightful but short analysis on the Concerto. Sources discussing Anton Rubinstein as a pianist and an educator are relatively plentiful. Larry Sitsky's Anton Rubinstein: Annotated Catalog of Piano Works and Biography is an excellent work on Rubinstein's piano works. This dissertation includes four chapters: Chapter 1 - Introduction Chapter 2 - Rubinstein's works for piano and ...
Date: May 2005
Creator: Peevey, Pui-King Cecilia