Dissertations / Theses: 'Piano music 18th century'

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Hernandez, Alberto Hector. "Puerto Rican piano music of the nineteenth century /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936671.

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Ceballos, Sara Gross. "Keyboard portraits performing character in the eighteenth century /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619148891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Telesco, Paula Jean. "Enharmonicism in theory and practice in 18th-century music /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784688577955.

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Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0052.

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Jou, Jonathan Jeng-Jong. "Bel canto : its effect on piano repertoire of the nineteenth century /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11375.

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Bang, Keum Ju. "The study of representative twentieth century piano compositions appropriate for use in contemporary college piano literature classes /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778391.

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Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form." University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.

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This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.

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HÖHMANN, REIKO CHRISTINE. "FOUR TWENTIETH-CENTURY SONATINAS FOR VIOLIN AND PIANO." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1171310483.

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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.

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Tithecott, Christine. "Canadian contemporary music and its place in 21st century piano pedagogy." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2018.

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Von, Holtzendorff Peter. "A parametric integration model for the analysis of late Baroque music : a tentative approach." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.

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In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.

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Bender, Sharla Ann. "A pedogogical discussion of five french twentieth-century piano pieces for progressive study." Thesis, The University of Alabama, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620057.

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This document provides a pedagogical study of five works for younger pianists by twentieth-century French composers. The works are Jeu by Darius Milhaud, Petite suite serieuse pour concert de famille by Besty Jolas, Les fleurs endormies by Marcel Landowski, A la maniere...d'un violon by Raymond Loucher, and L'histoire de Babar by Francis Poulenc. Each work is published individually by the French editor Gerard Billaudot and is a part of a collection of twenty-seven teaching pieces specifically designated pour les jeunes ("for young people"). These works can be used as an introduction to modern French piano music for elementary through early-advanced students. This subject is of great importance as such works are rarely found in student-level repertoire and method books. The selections are presented in the order of progressive study, each accompanied with a detailed discussion, so that the teacher may decide on how best to integrate the compositions into their students' training. It is possible to use all five pieces with one student in a graduated progression; but the discussions are presented with one composition per chapter so that an instructor may go immediately to the piece that most closely reflects their student's current level. These solo piano works can equip the student with the skills necessary to play more difficult French twentieth-century repertoire, such as Ravel's Sonatine or one of the Debussy Préludes.

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譚詠基 and Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.

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Kang, Eun Young. "Late Twentieth-Century Piano Concert Etudes: A Style Study." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169360.

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Keil, Andrea Marie. "The Dawn of Modern Piano Pedaling: Early Twentieth-Century Piano Pedaling Literature and Techniques." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503747.

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Aquilina, Frederick. "The life and music of Benigno Zerafa (1726-1804) : a mid-18th century Maltese composer of sacred music." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250319.

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The aim of the following thesis is to provide a study of the life and music of Benigno Zerafa (1726-1804), a mid-18th-century Maltese composer of sacred music. As a model adopted in this dissertation, research on Benigno Zerafa is divided into four categories which the author chose as important points of evidence in musicology: i) biographical, historical and literary studies (based mainly on official documents, the musical documents, and the informative descriptions of performances at the Cathedral, all housed in the archives of the Cathedral Museum) dealing with the composer's life, the environment in which he was brought up and in which he worked, the liturgy and local religious life, the texts he used for his vocal works, performance practice, the reception of his music, and its performance history; these are given in chapters one, two, three and four; ii) source studies - (i) gathering the sources, (ii) identifying the composer's musical and textual handwriting, (iii) determining the authenticity of works attributed to him - involving documentary or external evidence, provenance, paper studies of handwriting, watermarks and staving (rastrography), methods of dating, etc.: these are discussed in chapter four and the thematic catalogue; iii) style analysis concerned with internal evidence deriving from the music itself, and ultimately confronting questions of eesthetics, the place of the composer in music history and, especially, his influence on the development of the Maltese Baroque style - chapters five, six and seven. Empirical methods involving analysis of motifs, phrase structure, harmony, style characteristics, texture, form and word-painting are all considered. The arguments presented demonstrate how topoi, rhetorical figures and systematic overall planning are essential features of Zerafa's works in general; iv) a thematic catalogue of Zerafa's 148 works - volumes three and four - in chronological order concludes this study; a general preface and various indexes to facilitate quick reference are also included. A critical edition of Zerafa's Z116, Nisi Dominus for soprano solo, is presented as appendix A. Other appendices (B to G) follow as aids to the main text. To the best of my knowledge (as of 31 October 2001), no critical editions, books, papers and theses on the composer have yet been published and are in the process of being published. The present author's critical edition of Z2, Messa a due cori (1743), has appeared as part-fulfilment of requirements for the M. Mus. degree (Liverpool, 1997) in a computerised version, and was performed professionally in four locations in France in 1998 under the direction of French conductor Jean-Marc Labylle . One or two dissertations on Zerafa have now appeared. A doctoral thesis by Franco Bruni (Sorbonne, 1998) entitled La Cappella musicale della Cattedrale di Malta nel diciasettesimo e diciottesimo secolo presents a detailed study of the Cappella Musicale of the Cathedral up to the 18th century; a concise biographical note on Benigno Zerafa and an analysis of watermarks of the manuscript paper used are included. There is also a brief analysis of a small number of works, followed by a general thematic catalogue of the works according to manuscript number. The aims of this thesis and the results achieved lie within the context of . the composer's life and career, and are intended to promote a better understanding of the man and his music.

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Baysted, Stephen John Xavier. "From 'Le cri de la nature' to 'Pygmalion' : a study of Jean-Jacques Rousseau's philosophy of music and aesthetic and reform of opera." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2742.

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The thesis sets Rousseau's philosophy of music and aesthetic of opera against the wider philosophical backcloth of eighteenth-centuryF rance and in contraposition to the more scopic music-theoredcabl ackdrop,o f which Rameau'sw ritings are takena s a paradigm. The first half of the thesis contends that the philosophy of music is fashioned upon a trinary model which mirrors the philosophy of nature and history. The first sector is an ideal, hypothetical state; the second (the 'fall) is the moment when the ideal state is ruptured, when societal and cultural institutions - and history - commence; the third, is the 'actual state', the culmination of the process of history. It is argued that relativism is at work between the second and third sectorsa nd Rousseaua ssignsa rigorous systemo f value to the processo f history and all points alongi t, the processi tself, taken as a whole, is seena s a degeneratives lide awayf rom nearperfection to imperfection. 7111sce condh alf of the thesis explores the ramifications of the trinary model and the effect the degenerativep rocessh as upon the voice, music and opera. The voice is consideredt he unique phenomenon that connects all sectors of the trinary structure: though objectified and endowed with an ontology, it is not immune to the degenerativep rocess. At the fall-state,t he voice begins to rupture and two entities - melody and language - gradually emerge. Over time, melody and speech are forced further apart until neither bears much resemblance to the other. With the invention of harmony, melody degeneratesh: armony begins to overshadowm elody, until in the eighteenthc entury- consummatedin the music and theoreticalp ostulationso f Rameau- melody is subjugated and subsumed entirely within the harmonic domain of musical production. The impact upon opera is more complex and the concluding chapters explore the radical and largely reform-driven aesthetico f opera. Roussea&sf inal dramaticw ork Py gmalion(1 762)i s considered not simply as an outcome of this aesthetic, but as an embodiment of the philosophy of music itself; the animateds tatuee nunciatesR ousseau'sv ision of the origin of human expression.

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Yu, Catherine Chin-Yen. "Aspects of nationalism in nineteenth-century Spanish piano music : a critical commentary on selected works by Granados, Falla and Albeniz /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16110.pdf.

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Lan, Ping-Ting. "New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2632/.

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This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.

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Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).

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Kruja, Mira. "PIANO INSIDE OUT: THE EXPANSION OF THE EXPRESSIVE, TECHNICAL, AND SONOROUS SPECTRUM IN SELECTED TWENTIETH-CENTURY ART-MUSIC REPERTOIRE FOR THE MODERN ACOUSTIC PIANO." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukymuar2004d00228/Mkrujadma.pdf.

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Thesis (Ph.D.) --University of Kentucky, 2004.
Title from document title page (viewed on August 17, 2005). Document formatted into pages; contains: vii, 201 p. : music. Includes abstract and vita. Includes bibliographical references (p.187-197).

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Lee, Grace E. "Pedagogy and Artistry in Select Twentieth-Century Piano Etudes." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595845987466583.

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Leitão, Simone Azevedo. "Heitor Villa-Lobos's Mômoprecóce Fantasy for Piano and Orchestra (1919-1929): An Historical, Stylistic, and Interpretative Study." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/328.

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The life and works of the Brazilian composer Heitor Villa-Lobos (1887-1959) have been well documented. However, a comprehensive study concerning any of his nine works for piano and orchestra has not been undertaken. Among this prolific output, the Mômoprecóce, fantasie pour piano et orchestra, stands as a faithful representation of the composer's skillful orchestration, descriptive piano writing through the observation of a childhood universe, and his multi-faceted approach to nationalism. The fantasy is a through-composed arrangement of a previous solo piano suite by Villa-Lobos entitled, Carnaval das crianças brasileiras (Brazilian Children's Carnival, 1919). This research aims to investigate the historic, stylistic, and interpretative aspects of Mômoprecóce, while discussing the composer's unique usage of the piano through his innovative compositional techniques and comparison of the fantasy with his original solo piano suite. Current literature in English, Portuguese and French is thoroughly examined, discussed, evaluated, and cited. In addition I provide a formal analysis, an interpretative guide, and a sociological perspective into Brazilian carnival, as specifically applied to the performance of Mômoprecóce.

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Aspden, Suzanne Elizabeth. "Opera and nationalism in mid-eighteenth-century Britain." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:157fe363-632a-469f-bb42-1ede235a6a33.

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Italian opera gained an odd resonance in eighteenth-century British sensibility. By turns loved and hated, it acted on the British imagination as a catalyst both for some of the age's most brilliant satire, and for some of the century's most unusual musical extravagances. This dissertation argues that, despite (or in some ways because of) the eventual failure of Italian serious opera and its English hybrid forms to attain status within the musical canon, the progress of opera played a vital role in shaping and reflecting the formation of British national identity, and that, reciprocally, attempts to find a national identity played a large part in opera's fate in Britain. For the competing forces and factions of Italian and English opera in 1730s London, the bid for supremacy was inevitably linked with an appeal to authority (whether that of royalty, the nobility, the populace, or ideologies of the nation) that involved stressing their link with the national interest. The first chapter examines the relationship between the consistently politicised language used to discuss opera and the mode of civic action and public spiritedness still requisite amongst the Nobility, charting ways in which aristocratic support of this foreign genre might be reconciled to British concerns. The second chapter looks to a particularly problematic instance of opera's apparent politicisation in the 1730s Lord Hervey's analysis of the division between Handel and the 'Opera of the Nobility' to propose a possible 'solution' through the two Ariannas of 1734. In so doing, it shows opera's role within a culture of emulation, emphasising the flexibility and social contingency of operatic interpretation. Coterminous with Italian opera, but of a lower status, were ballad and burlesque opera, their critique of national cultural identity all the sharper for their role as cultural and formal boundary markers. Chapter three demonstrates though exploration of the curious and much-criticised English 'opera', Hurlothrumbo (1729), that British dislike of opera was bound up with the deep-seated fear of luxury. While 'Hurlothrumbo' was used as a derogatory epithet until the end of the century, this operatic work also provides a fascinating example of how opera producers might try to negotiate British unease. Chapter four examines the concerted attempt in the 1730s to associate English opera and musical theatre with topics of national interest through composers' and playwrights' appropriation of the stories of historical British ballads as the local equivalents of the venerable texts of Italian opera. The fact that many of the works discussed are 'problem pieces', considered generically, authorially or hermeneutically unstable, points not only to the reason for indigenous opera's failure to achieve canonical status, but also to a more fundamental problem with the role of opera (and, indeed, music in general) in the still-forming British identity. In the final chapter I turn from the problems of opera to the undoubted success of Handel, who himself made the transition from opera to oratorio; I evaluate the composer's apotheosis as a national hero through examining manifestations of his image in the 1730s and at the time of his death.

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Kotze, Hanneli. "Agogiek in historiese perspektief met spesiale verwysing na die 18de eeu." Thesis, Stellenbosch : Stellenbosch University, 1987. http://hdl.handle.net/10019.1/65460.

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Thesis(M.Mus.) -- Stellenbosch University, 1987.
VOORWOORD Die twintigste eeu beleef 'n besondere belangstelling in die outentieke uitvoering van ou musiek en dit is 'n studieveld wat reeds uitgebreid nagevors is. Desondanks bestaan daar steeds baie vraagstukke aangaande sekere uitvoeringspraktyke en styltipes en hoe ouer die musiek, hoe meer problematies word 'n outentieke uitvoering, veral as gevolg van die groot verskille tussen die moderne en ou instrumente, die speeltegnieke en die dikwels ontoereikende notasie. Die teoriee wat die twintigste eeuse musici aangaande die uitvoeringspraktyke geformuleer het, is hoofsaaklik gebaseer op ou geskrifte, verhandelinge en onderrigboeke uit die onderskeie styltydperke. Daar bestaan baie teenstrydighede tussen hierdie teoriee, veral met betrekking tot die musiek van die Barokperiode. Die uitvoering van musiek van die Klassieke en veral die Romantiese periodes is minder problematies en die redes hiervoor is hoofsaaklik die volgende: Die notasiesisteem het reeds tydens die Hoog-Klassieke tydperk tot sy huidige vorm ontwikkel. Verder het musiekkritiek en -geskiedskrywing segert die agtiende eeu toenemend meer aandag geniet en bestaan daar dus meer inligting aangaande uitvoeringspraktyke. Ten spyte daarvan dat hierdie na vorsing reeds dekades gelede begin het, is daar steeds groot onkunde daaromtrent en word daar dikwels min aandag gegee aan die outentieke uitvoering van ou musiek. Hierdie studie is 'n paging om die navorsing wat reeds gedoen is krities te ondersoek en 'n moontlike samevatting daarvan te gee.
Digitized at 300 dpi B/W PDF format (OCR), using ,KODAK i 1220 PLUS scanner. Digitised, Rebecca Patterson on 28 August 2013. Digitization of Music Thesis Project

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Salido, Caroline Besana. "The Piano Compositional Style of Lucrecia Roces Kasilag." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1038863092.

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Guillaumier, Christina. "From piano to stage : a genealogy of musical ideas in the piano works of Sergei Prokofiev (1900-c.1920)." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/6451.

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This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first chapter is concerned with Prokofiev's juvenilia (1898 to c. 1906). Drawing upon a large amount of previously unpublished archival resources, this chapter uncovers the original gestures and thematic ideas which characterize Prokofiev's early style. The next chapter focuses on Prokofiev's period at the St Petersburg Conservatory, tracing his development into a virtuoso pianist, examining the nature of that virtuosity and chronicling the creation of Prokofiev's performing persona. The gestures and idea- types identified in the first chapter are then examined within the context of Prokofiev's works for solo piano, his early works with orchestra and his first two major operas. Conclusions are then drawn about the nature of Prokofiev's distinctiveness, his compositional legacy and about his current position as a major twentieth-century composer.

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Lee, Chung H. (Chung Haing). "Japanese Elements in the Piano Works of Toru Takemitsu." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332793/.

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Toru Takemitsu's piano works reveal a new scope to the concept of sound in modern piano literature. He achieves originality through his imagination and his Japanese cultural and musical heritage. Subtle Japanese elements, which have been embedded for centuries in Japan's culture and music, lend a unique, but not outwardly Japanese, feeling to this work.

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Kallionpaa, Maria E. "Beyond the piano : the super instrument : widening the instrumental capacities in the context of the piano music of the 21st century." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:1bd51738-543e-4898-8b64-26fe2b17a352.

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Thanks to the development of new technology, musical instruments are no more tied to their existing acoustic or technical limitations as almost all parameters can be augmented or modified in real time. An increasing number of composers, performers, and computer programmers have thus become interested in different ways of "supersizing" acoustic instruments in order to open up previously-unheard instrumental sounds. This leads us to the question of what constitutes a super instrument and what challenges does it pose aesthetically and technically? This work explores the effects that super instruments have on the identity of a given solo instrument, on the identity of a composition and on the experience of performing this kind of repertoire. The super instrument comes to be defined as a bundle of more than one instrumental lines that achieve a coherent overall identity when generated in real time. On the basis of my own personal experience of performing the works discussed in this dissertation, super instruments vary a great deal but each has a transformative effect on the identity and performance practice of the pianist. This discussion approaches the topic from the viewpoint of contemporary keyboard music, showcasing examples of super instrument compositions of the 21st century. Thus, the main purposes of this practise based research project is to explore the essence and role of piano or toy piano in a super instrument constellation, as well as the performer's role as a "super instrumentalist". I consider these issues in relation to case studies drawn from my own compositional work and a selection of works composed by Karlheinz Essl and Jeff Brown.

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Jang, Laurie. "Music's debt : a study of poetic influence in mid-eighteenth century German instrumental music." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28075.

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The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their ultimate goal of the imitation of human passions. The "problem" of textless music--i.e., its lack of semantic content--became a primary issue for aesthetic discussion and led to a re-evaluation of music's intrinsic qualities as a medium of expression. Berlin composers working in mid-century were especially susceptible to such aesthetic developments. Led by writer/critics Lessing, Nicolai, and Mendelssohn, a unique literary renaissance characterizing the city was generating wide-spread critical debate on matters concerning the significance and meaning of art. Two major points of discussion among the literati were 1) that since classical times the arts of poetry and music had strayed too far apart, and 2) that music especially needed the support and cognitive power of a poetic text to remain a viable artistic medium. The consequences of these ideas on Berlin composers is immediately apparent in the development of the lied. In this new musical genre which achieved great popularity in Berlin, expression through text and music were considered synonymous as composers worked to close the gap between the two in their technique and methodry. However, the impact of these aesthetic beliefs is not as easily discernible in the instrumental music of mid-eighteenth century Berlin. While it was undisputed that musical tones in themselves contained some indeterminate expressive force, the rationalists' demand for concrete meaning in art led composers to develop and assess their music in terms of poetic criteria. An analysis of their works will illustrate that poetic structure, technique, and materials of expression assumed a primary role in the creation of their art. This study hopes to clarify the relationship between poetry and music through an examination of mid-eighteenth century Berlin's lied aesthetic, and selected instrumental works by J.J. Quantz and C.P.E. Bach composed in Berlin during this period.
Arts, Faculty of
Music, School of
Graduate

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31

Daly, Shawn Timothy. "Abram Chasins: A Study of Selected Works for Solo Piano and Two Pianos." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1180706349.

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32

Yang, Yuanzheng, and 楊元錚. "Japonifying the qin: the appropriation of Chinese qin music in Tokugawa Japan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40987644.

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The Best PhD Thesis in the Faculties of Architexture, Arts, Business & Economics, Education, Law and Social Sciences (University of Hong Kong), Li Ka Shing Prize, 2007-2008.
published_or_final_version
Humanities
Doctoral
Doctor of Philosophy

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33

Billock, Rebecca. "Selected intermediate piano pieces by seven women of the twentieth century : Marion Bauer, Germaine Tailleferre, Ruth Crawford Seeger, Sofia Gubaidulina, Emma Lou Diemer, Chen Yi, and Karen Tanaka /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11367.

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34

Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo with Three Recitals of Works by Mussorgsky, Brahms. Bartok, Dutilleux, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038907/.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VII (1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troiseme Sonatine (1933), and Jean-Michel Damase Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work.

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35

Zhou, Liguang Zhou. "Between the Inside and the Outside: Seven American Composers in the Twentieth Century and Their Piano Pieces." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1545387063582088.

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36

Brown, Myron D. "The 19th Century Tarantella for Piano: A Pedagogical Guide to Performance and Leveling." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1302883737.

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37

Goker, Burcu. "An annotated survey of selected works for violin and piano by Turkish composers in the twentieth century." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564893.

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The impetus for this treatise began as an investigation into the repertoire of works for violin and piano by Turkish composers throughout the 20th century. The establishment of the Turkish Republic in 1923 proved to be very pivotal for the development and exposure of Western classical music within Turkey, allowing for the first time newer generations of composers to define their Turkish identity within the context of larger westernized traditions. Very little information has been written regarding the theoretical analysis or historical background for most Turkish works for violin and piano; this survey will serve to further appreciation and understanding of several of the most significant compositions of this neglected body of repertoire.

This annotated survey consists of twenty selected works for violin and piano, and will summarize the stylistic traits and technical features present in a diverse body of compositions written by several generations of Turkish composers in the 20th century. The works in this survey have been categorized into five chapters, which correspond to large-scale generational shifts of compositional style, ranging from the nationalism and modality of the "Turkish Five", to the avant-garde, and a later more modernistic, eclectic compositional approach.

The establishment of a pedagogical ranking system of technical and interpretive difficulties at the onset of this treatise will help facilitate advanced through professional violinists in choosing individual works of a suitable level of difficulty. Relevant information relating to composition dates, premiere locations, discography, and score accessibility information will be included in this survey to encourage musicians to seek out these works for further study and performance.

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38

Perry, Margaret C. "Piano music in Italy at the turn of the twentieth century: Alfredo Casella and Gian Francesco Malipiero." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280046.

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Alfredo Casella and Gian Francesco Malipiero were significant voices among several Italian composers at the beginning of the twentieth century that promoted the revival of instrumental music. They hoped to create a national style beyond opera by expanding the instrumental repertory of their country. This document includes analyses and discussion of solo keyboard works by these composers created between 1914--1918, including Malipiero's Preludi autunnali and Risonanze, and Casella's Nove Pezzi and Sonatina. The author identifies important sources of style relevant to the musical language of Malipiero and Casella and assesses the quality and context of their contributions to the history of solo keyboard music in twentieth century Italy. These composers successfully revitalized a dwindling solo keyboard tradition through their own compositions, their work as pedagogues, and their leadership positions in the international musical community.

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39

Sherman-Ishayek, Norma Lillian. "Closing gestures in opening ideas : strategies for beginning and ending in classical instrumental music." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60092.

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This paper studies the formal ambiguity that arises when a closing gesture occupies a beginning location in the instrumental works of Haydn, Mozart, and Beethoven. Accordingly, I am interested in those formal areas within a piece that are concerned with the functions of either "beginning" or "ending."
I first present a systematic survey of the theoretical principles underlying the formal functions of beginning and ending in this style. I then show some specific examples of typical cadences and of initial units that imitate them. Next, I focus on the "main theme," observing how the function of "beginning" is performed by a "closing initial idea" and then, how the main theme's cadences express their proper function. Finally, I study what happens in other locations such as the return of the main theme, the cadence closing the form, and post-cadential material.

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40

Leverenz, William C. "The Viennese Violone: The Development, Blossoming, and Decline of a Musical Instrument in 18th Century Vienna." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1523636570147918.

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41

Silver, Noreen. "Nineteenth century music for cello and piano in the British Library Collection : an annotated catalogue /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11364.

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42

Yang, Yuanzheng, and 楊元錚. "Early Qin music: manuscript Tōkyō, Tōkyō Kokuritsu Hakubutsukan TB1393 and manuscript Hikone, Hikone-Jōhakubutsukan V633." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B32222634.

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The Best MPhil Thesis in the Faculties of Architecture, Arts, Business & Economics, Education, Law and Social Sciences (University of Hong Kong), Li Ka Shing Prize, 2003-2005.
published_or_final_version
abstract
Music
Master
Master of Philosophy

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43

Noble, Anthony Frederick George. "A contextual study of the life and published keyboard works of Elisabetta de Gambarini, together with a recording, facsimile of the music, and commentary." Thesis, University of Winchester, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327682.

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44

Hogan, Charles. "The Piano Sonatas of Allen Sapp: A Study of Style and Language." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1291388426.

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45

Fouse, Kathryn. "Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332492/.

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This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.

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46

Sanchez, Luis. "Piano literature by Argentine composers from the late nineteenth century through the twentieth century : an annotated catalog." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1247895.

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The piano pieces by Argentine composers are a significant contribution to piano literature. They represent the voice of a nation that has enjoyed a strong musical tradition, with a noted European influence and a unique fusion of Argentine folk dances and songs. In that regard, these works possess distinctive qualities and an incomparable style. Unfortunately, a large proportion of these compositions remain unknown.This annotated catalog focuses on the piano literature by Argentine composers from the late nineteenth and the twentieth centuries, that are available in U.S. libraries. Its purpose is to aid pianists, educators, and music historians discover a wealth of repertoire that has long been neglected. The piano works by Argentine composers, including Julian Aguirre (1868-1924), Felipe Boero (1884-1958), Juan Jose Castro (1895-1968), Alberto Ginastera (1916-1983), and Carlos Guastavino (1912-2000) are listed alphabetically by composer. Each entry includes publishing information, level of difficulty, U.S. libraries that hold the scores, and a descriptive paragraph. Transcriptions, arrangements, works for piano and tape, and prepared piano have not been included.
School of Music

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47

Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).

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48

Keuchguerian, Anait. "Haydn's early symphonic development sections and eighteenth-century theories of modulation." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20894.

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The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)

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49

VAN, DYKE RICHARD GERARD. "TRACING THE STYLISTIC ELEMENTS OF ROBERT STARER'S PEDAGOGICAL WORKS TO THE TWILIGHT FANTASIES AND SONATA FOR PIANO, NO. 3." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195669172.

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50

Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.

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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.

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Dissertations / Theses on the topic 'Piano music 18th century'

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