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A Guide to Arranging Late Eighteenth and Early Nineteenth Century Harmoniemusik in an Historical Style

Description: The wind octet was a popular ensemble of the classical period. In 1782, the Viennese Emperor formed a wind octet which specialized in playing opera arrangements. This music was used primarily as a form of background entertainment for dinners. This guide analyzes and compares the works of several well-known arrangers from the classical period in order to demonstrate arranging styles of the time. The arrangers of the period were often the performers of these various wind octets who were writing specifically for the players in their own ensembles. The style of Mozart’s original wind music is also discussed, in contrast to the arrangements of his works made by others. This guide is intended for serve performers of today as a tool to learn the art of arranging in an historical style. Idiosyncrasies of the classical-period wind instruments are discussed, as they relate to the style of wind arranging. The role of the contemporary arranger is compared with that of the classical period, and the case is made for the need for more contemporary arrangements of classical works using period arrangers as models.
Date: August 2015
Creator: April Marie Ross

The Pedagogy of Robert Dick

Description: Robert Dick is best known as a leading proponent of contemporary music and extended techniques for the flute; however, his teaching is informative on a broader level that encompasses technical and musical aspects of traditional playing as well as contemporary practices. This dissertation is intended to serve as a resource for flutists, providing a detailed documentation of his approach to playing and teaching the flute. Dick’s highly integrated pedagogy—informed by his traditional training, revolutionary work in documenting and codifying extended techniques on the flute, and his equal personal involvement in performance, composition, and improvisation—provides a strong basis and clear trajectory, musically as well as technically, to his students. The primary research material for this document is the author’s personal collection of detailed notes from her studies with Dick. Additionally, as no pedagogy exists in a vacuum, a number of sources including historical treatises and more recent published documentations of flutists’ pedagogies provide context and support. Such publications are of current and continuing educational value; considering Dick’s contributions to the development of flute playing and his integrated approach to teaching the flute, a document that accurately and thoroughly addresses his pedagogy is a logical addition to this literature.
Date: December 2014
Creator: Bost-Sandberg, Lisa

José Antonio Gómez´s Versos Para Órgano (Section I): a Practical Guide for Performance

Description: José Antonio Gómez is an important figure in Mexican music history and his works are considered representative of the beginning of Mexico´s Independent era. Some musicians are familiar with Gómez´s choral output but his organ music is rarely considered. Due to the lack of an edition of Gómez´s Versets for Organ, a practical guide was found needed to aid its performance. This study is based on performance, analysis, and direct work on the only known source for it. The first chapter, Introduction, presents the argument for an edited version of the first part of the manuscript as a performance guide. The second provides biographical information on the composer. The third chapter discusses the background for the original performance of the Versets for Organ. Chapter 4 provides performance considerations for the works. The edition of the manuscript is included in chapter 5.
Date: August 2012
Creator: Carrasco Curíntzita, Laura A.

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

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 receiving advice for performance of Capriccio and some movements of Heptameron. Therefore, I gained a primary source of instruction, particularly in regards to pedal markings, rhythmic indications, voice balancing, finger suggestions, articulation markings, and tone of musical expression. In this dissertation, I include my own instructions (accepted by the composer) along with the composer's intentions.
Date: December 2012
Creator: Park, Esther

The Chopin Etudes: a Study Guide for Teaching and Learning Opus 10 and Opus 25

Description: The etudes of Chopin are masterworks of the piano literature and are designed to go beyond mere technical exercises; moreover, each etude represents not only a technical study but also has a distinct musical character. Alarmingly, the current trend seems to be to assign the Chopin etudes at an increasingly young age to students who are not yet equipped either technically or musically to handle them. As Chopin’s pupil, Carl Mikuli, commented in the preface to his Chopin edition, the etudes were meant for “more advanced students.” If Chopin had intended his etudes for students at an intermediate level, he would have assigned them to most of his students; however, only a limited number of students had his permission to work on their master’s etudes. As a teacher, I have always felt the need to devise a systematic teaching plan to guide students to handle the challenges of these pieces both physically and musically. This study examines the repertoire which might help prepare a student to learn the etudes without overstraining his/her muscular and mental ability. Rooted in Chopin’s teaching and his recommendation of the pieces to learn before tackling the etudes themselves, this pedagogical study guide intends to help students and teachers to work progressively towards the study of these works. While pinpointing some exercises and simple pieces to assign to a student in preparation for studying the individual etudes, helpful works of later composers are also liberally incorporated, as well as some suggestions for practicing the etudes themselves. Finally, I shall provide my own “re-ordering” of the etudes, with a progressive degree of difficulty, as an additional aid to a young pianist who may eventually want to learn the entire opus 10 and opus 25.
Date: December 2011
Creator: Kim, Min Joung

The Klezmer Influence in Paul Schoenfield’s Klezmer Rondos

Description: Paul Schoenfield’s Klezmer Rondos is a work for flute, male vocalist, and orchestra revised in 1994 according to the score given to me by the composer. A review of current research in klezmer heritage music is the starting point to place Klezmer Rondos in the context of art music infused with klezmer flavor. Klezmer music can be defined as the instrumental folk music of Eastern European Jews, however because of its adaptability and quality of assimilating other cultures within it, this heritage music is constantly in flux. By looking at the research in this field, I describe how the sound of klezmer music has evolved and how popular notions have been formed. The body of this research explores the main musical aspects of Klezmer Rondos that can be tied to the klezmer tradition: scales and thematic materials, improvisatory elements, ornamentation, and instrumentation. Klezmer Rondos moves beyond a simple arrangement of vernacular music for orchestra; it is a fusion of contemporary art music with the elements of klezmer style.
Date: December 2011
Creator: Trimble, Mark

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

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 components of Leschetizky's pianistic legacy. For pedagogues of the current generation, it is of vital importance that we understand not only our own personal pedagogical lineage, but the various other individuals that, through their contributions, have led us to where we are in our understanding of the instrument. What is needed in the current research on this subject is one individual source that not only documents the characteristics of a pedagogical genius, but explores the legacy he left for future generations through documented accounts of his students and the examination of his own unfamiliar, pedagogical repertoire for the piano.
Date: May 2010
Creator: Serrin, Bret

Chamber Music with Double Bass: A New Approach to Function and Pedagogy.

Description: The first part of the paper states the problem of the double bass not being incorporated into the chamber music program at many universities and the resulting lack of skills that can only be developed through this discipline. The double bass is trying to catch up with the other string instruments as it has been historically ignored, misunderstood and not as developed musically and technically. The historical background and current state of research are being examined to understand why this problem occurred in the first place, noting the vast amount of chamber music repertoire that is unknown and identifying some important but underperformed works. Further the pedagogical benefits of playing chamber music are discussed in order to realize the vital importance of integrating the double bass into the curriculum at major universities. Specific examples from the four major style periods are discussed in detail to show the benefits of studying this repertoire. Finally an implementation process is suggested to help change the current state of chamber music neglect as it pertains to the double bass.
Date: December 2009
Creator: Raschen, Gudrun

The Stabat Mater of Herbert Howells: The Agony and the Ecstasy

Description: Herbert Howells composed three large works for chorus and orchestra: a requiem (Hymnus Paradisi), Latin mass (Missa Sabrinensis) and finally a Stabat Mater. Writings, performances and recordings of the Stabat Mater, however, have been few. As the Stabat Mater is believed to be the culmination of his musical prowess, it is important to bring this major work to light. Chapter 1 begins with a brief introduction to Herbert Howells, then continues as a brief biographical sketch. Howells's life is discussed from birth, as organ scholar, student at the Royal College of Music, his teaching professorship at the same institution, and important compositions by decade until his death. Chapter 2 is an overview of the Hymnus Paradisi and Missa Sabrinensis. The chapter gives historical information on each work, including reasons for commission, dates of composition and performance, orchestration and choral composition, type of soloists, conductor and recordings. Chapter 3 is an in depth study of the Stabat Mater. The chapter includes reasons for the genesis of the work, current and past events that affected the composition, musical influences, and the death of his son Michael Kendrick Howells. A second section to this chapter addresses the text of the Stabat Mater, including the history of the poem, liturgical use from the 11th century to the present, the rhythmic scheme of the poem, and variant stanzas used in the Howells's setting. Chapter 4 is a thorough musical analysis of the Stabat Mater. After a short introduction explaining the architecture of the work as a whole, each of seven movements is examined, including the introduction, main themes, musical elements and use of Latin text. A concluding final chapter restates the importance of Herbert Howells as a composer in the British musical renaissance of the 20th century, in addition to a supposition that this final ...
Date: August 2006
Creator: Childs, Kim J.

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.

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

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

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

Stabat Mater by Frank Ferko, A Mosaic of Mourning: The Universality of Mothers' Grief, Ancient Texts Made Relevant by the Addition of English Interpolations

Description: This document examines Frank Ferko's unique setting of the ancient Latin sequence, Stabat Mater that incorporates five English interpolations dealing with the subject of parental grief over the loss of a child. The twenty Latin stanzas and five English interpolations are examined harmonically and philosophically, as two separate works. The tonal architecture of the work, outlined in two large arches built on key relationships, is explored in the body of the paper in addition to a graphic depiction and table of key centers. The interrelationship between key centers and textual considerations is examined. An extensive interview with the composer provided invaluable information regarding the creative process as it relates to the choice of English texts, compositional techniques and influences, and the stylistic musical diversity that characterizes the work. Three prominent American conductors, who have conducted significant performances Stabat Mater discussed specific problems and solutions in preparing and performing the work. Data pertaining to Stabat Mater history and other settings was gathered from reference materials, periodicals, and internet sources.
Date: May 2006
Creator: Wilson, Barbara Sue Johnston

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

Richard Strauss's Duett-Concertino: A Study of the Programmatic Elements for the Performer

Description: Richard Strauss's Duett-Concertino for Clarinet and Bassoon with Strings and Harp, AV 147 was one of the last works written by this celebrated composer. This double concerto has been largely unrecognized by performers and scholars until a recent surge in recorded performances. Some factors that hinder performances of the Duett-Concertino include unusual scoring and difficult rhythmic passages, as well as a lack of acknowledgement or understanding of the programmatic elements represented in the music. Sketches and letters show that the Duett-Concertino was inspired by a fairytale, which may have been the popular Beauty and the Beast. The programmatic analysis in this study examines the musical gestures of the piece, which, when combined with the cues provided in the sketches and letters, construct a musical interpretation of the fairytale. Recognition of the extra-musical features of the Duett-Concertino is essential for an effective performance and, in turn, creates additional performance possibilities such as narration and choreography.
Date: May 2004
Creator: Turley, Sarah Leigh

Supplemental Studies for Mastering Extended Techniques in Three Late Twentieth-Century Works for Solo Trombone: Luciano Berio's Sequenza V, Folke Rabe's Basta and Mark Phillips' T. Rex, Together with Three Recitals of Selected Works by Wagenseil, Grøndahl, Gotkovsky, and Others

Description: Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.
Date: May 2004
Creator: Scott, Deb

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.

Plays of Tennessee Williams as opera: An analysis of the elements of Williams's dramatic style in Lee Hoiby's Summer and Smoke and André Previn's A Streetcar Named Desire.

Description: There are two major, well-known operas based on plays of Tennessee Williams. He refused many times throughout his life to give permission for his play, A Streetcar Named Desire, to be set as an opera. It was not until the 1960s that he granted permission for Lee Hoiby to choose any of his plays as a basis for a new opera. Hoiby chose Summer and Smoke, a play which was written at approximately the same time as Streetcar. Lanford Wilson created the libretto for the opera which was given its premier in 1971 by the St. Paul Opera Association. In 1994 representatives of the Williams estate granted permission to the San Francisco Opera to commission an opera based on A Streetcar Named Desire. With a libretto by Philip Littell, the opera was composed by André Previn and given its premier in 1998. These two plays share common themes, character types, character relationships, and literary symbols due in part to the autobiographical nature of Williams's writings. The plays exhibit a cinematic nature and possess common dramatic elements such as the symbolic use of sets, props, and musical leitmotifs as a result of his attempts to create a new "plastic" style of theatre. The purpose of this thesis is to examine how each composer has captured the essence of Williams's dramatic style in these well known plays while dealing with stylistic elements that by nature could interfere in operatic composition. A brief biography of Williams is included to show the familial basis of his character types. Illustrations of his style serve as the basis for a comparison of the librettos to the plays. The musical analysis focuses on the composers' choices in dealing with Williams's poetic southern language, use of music, cinematic techniques, and complex characterizations.
Date: December 2003
Creator: Lee, Kenneth Oneal

Roger Reynolds' Variation (1988): New Concepts of Form and Sound

Description: American composer Roger Reynolds was born on July 18, 1934, in Detroit, Michigan. At age 14, he determined to study piano after hearing a recording of Chopin's Polonaise in A-flat major, Opus 53 played by Vladimir Horowitz. Even though his piano teacher Kenneth Aiken recommended that he continue his study at the Curtis Institute of Music, Reynolds followed the suggestion from his parents that a musical career was not practical. After receiving a bachelor degree of engineering physics at the University of Michigan, he worked in the industry for a short period of time. In 1957, he returned to Michigan and resumed his study of music by taking a class called Composition for Non-Composers under the instruction of Ross Lee Finney. Reynolds continued his compositional study with Finney and Gerhard who were influenced by the Second Viennese School until he finished the master's degree (B.M. 1960, M.M. 1961). Variation was written under the auspices of The Banff Centre for the Arts in 1988. This piece was dedicated to Peter Serkin and premiered by Alec Karis, a faculty member at UCSD, on December 3, 1991 at Merkin Concert Hall, New York. This large-scale set of variations for piano is one of the rare instances in which Reynolds used a conventional genre. What concerned Reynolds most in Variation was "the notion that transformations of meaning could occur entirely as a result of changes in context." He designed this variation as five sections -capriccioso and I, grave and II, III, scorrevole and coda. Capriccioso, grave and scorrevole also refer to the three basic thematic elements of this piece. These three main themes appear throughout the whole piece employing fragmentations or superimpositions. Reynolds used two computer algorithms (SPLITZ and SPIRLZ) to make transformations on these three thematic ideas. He cut the themes up into ...
Date: December 2003
Creator: Lee, JooHee

The Piano Variations of Aaron Copland: An Analysis and Study for the Performer.

Description: Aaron Copland has been in the forefront of the American musical scene since the 1920s. He has been called an "American composer" for his ability to formulate the essence of American folk music into a wide variety of mediums. The variety and scope of his compositions encompass a diverse array of styles and techniques. From the jazz influenced works that dominated his early period to the works for Hollywood films, from the chamber music that was directly influenced by his Jewish background to the partial acceptance of serial technique, Copland has managed to delve equally into all these styles. Yet, one could arguably rank his works for the stage as his most popular and generally most successful compositions of his career. The extent to which the American public has accepted these works as being "folk" is a case for the genius and adaptability of Copland's talent. Although works like Appalachian Spring, Rodeo, and Lincoln Portrait command the attention of the general public, of whom Aaron Copland was constantly aware, there are works for the piano that deserve and demand close study by pianists. One such work is the Piano Variations. Written in 1930, it has been acknowledged as a twentieth century masterpiece in publications for piano and piano literature as well as by pianists since its premiere in 1931. It is a brutal and sparse work that encompasses a quasi-serial technique in which the motto of four notes transforms itself through the course of twenty variations and a coda. The demands of learning a work such as this can be overwhelming for the pianist not accustomed to the rigors of a non-diatonic piece. However, a careful analysis precipitated by specific questions directed not only at learning the piece but also with the goal of performance in mind, can shape the ...
Date: August 2003
Creator: Saun, Rinna M.

William Bolcom's Sonata for Violoncello and Piano (1989)

Description: Composer William Bolcom (1938-) has shown a remarkable capacity for incorporating disparate materials and combining them to create original compositions, while often using traditional genres and forms. This style has earned Bolcom the reputation as a leading composer of American postmodernism. This study provides a brief sketch of Bolcom's development as a postmodern composer, his repertoire for violoncello and piano, and it examines his compositional style as applied in his Sonata for Violoncello and Piano (1989). In the Sonata Bolcom applies a wide variety of musical vocabulary from serious and popular traditions. He juxtaposes contrasting ideas to create and resolve rhythmic, melodic and harmonic tensions and amalgamates concepts of three centuries of music history into one new integral work. All these disparate elements with classical, romantic, impressionist, expressionist, modernist and popular connotations are molded together to form a serious piece of musi c with a sense of humor. The three contrasting movements of the Sonata share many common rhythmic, melodic and harmonic traits. The movements form a congruent work of Classical and Romantic spirit, often reminiscent of Brahms' music, despite the mixed use of traditional, popular, and modernist musical languages.
Date: August 2003
Creator: Janssen, Tido

The Tone Clock: Peter Schat's System and an Application to His Etudes for Piano and Orchestra, Opus 39

Description: The scope of this study includes relevant background information on Peter Schat and his compositions and process, an explanation of the Tone Clock system and a detailed analysis of one of his compositions, the Etudes for Piano and Orchestra, Opus 39. The intent is to demonstrate how the Tone Clock naturally evolved from the practices of the Second Viennese School and how it relates to both new and existing modern music. The study is divided into five chapters. Chapter 1 presents a brief introduction to Peter Schat and the Tone Clock. Chapter 2 provides a more detailed biography of Peter Schat and traces the development and evolution of his compositional techniques, ultimately culminating in the Tone Clock. Chapter 3 provides a basic explanation of the Tone Clock itself, with demonstrations of various components through musical examples and illustrations. Chapter 4 is a detailed analysis of the Etudes for Piano and Orchestra, Opus. 39. Chapter 5 summarizes the results of the study, with special attention to the impact of the Tone Clock on performance from the perspective of the performer. The analysis of the Etudes was completed by using the Tone Clock as an analytical tool, aided by the composer's original manuscript and sketches for the work. The goal of the study is to establish the value of the Tone Clock as both a compositional and analytical tool.
Date: December 2002
Creator: Petrella, Diane Helfers

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