Dissertations / Theses on the topic 'Piano music Analysis'
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STEVENS, DAMON BRIAN. "INTRODUCING THE PIANO MUSIC OF SAMUEL BARBER TO THE UNDERGRADUATE PIANO MAJOR." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1194288770.
Full textPark, Jinha. "Piano music of Elisenda Fabregas| A stylistic analysis." Thesis, University of South Carolina, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561836.
Full textThe purpose of this study is to present a stylistic analysis of the piano music by American-Spanish composer and pianist Elisenda Fábregas (b.1955). Fábregas' compositional output includes more than forty works for solo, chamber ensemble, vocal, chorus and orchestra; her large-scale piano works consist of Mirage (1997), Portraits I (2000), Homenatge a Mompou (2006), and Hommage à Mozart (2006). Chapter I consists of an introduction, including the purpose of the investigation and a literature review. Chapter II covers brief biographical information, compositional genre and style, and compositional output of piano, vocal and chamber music. Chapter III provides a stylistic analysis of the four concert piano works of Fábregas: Mirage (1997), Portraits I (2000), Homenatge a Mompou (2006) and Hommage à Mozart (2006). Chapter IV consists of a summary, conclusion, and recommendations for further research.
Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.
Full textTypescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.
Dellinger, Michael Eldon. "An analysis of Frank Martin's Second Piano Concerto /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259125218152.
Full textTelesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.
Full textNakagawa, Eri. "A stylistic analysis of the piano trios of Saint-Sa�ens and Ravel." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1063301.
Full textSchool of Music
Tentser, Alexander 1965. "The Second Piano Sonata by Dimitrii Shostakovich: A style analysis." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290631.
Full textMahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
Full textKiatvongcharoen, Usa. "Analytical approaches to three of Debussy's preludes for piano." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20665635.
Full textOdendaal, Andries Albertus. "The piano music of Peter Klatzow : a stylistic analysis of selected works." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/11716.
Full textUchino, Tomoko. "An Analysis of Three Impromptus for Piano Op. 68 by Lowell Liebermann." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195000.
Full textDicus, Kent Timothy 1958. "A stylistic analysis of selected piano works of Louis Moreau Gottschalk." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276718.
Full textGRANT, MARGARET JEAN. "A FEMINIST ANALYSIS OF FRANCIS POULENC'S SONATA FOR OBOE AND PIANO." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148187368.
Full textKruger, Esthea. "An analysis of Priaulx Rainier’s Barbaric Dance Suite for piano." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1883.
Full textPriaulx Rainier (1903-1986) was a South-African born composer whose highly original compositional style attracted great attention during her lifetime. She spent most of her life in England, but was inspired by the images and recollections of her youth in Africa. Despite the critical acclaim she received, little research has been done about her, both in South Africa and abroad. Additionally, the nature of existing sources is mostly not analytical, but rather provides an overview of her life or general aspects of her style. Although some conclusions have been drawn about her compositional style, they are not thoroughly substantiated by concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often linked by authors to the “African” element of her idiom), with an evident disregard of the other aspects of style, most notably with regard to pitch coherence. This research attempts to correct this unbalanced discourse by analysing one of her few solo piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch relations, similarities and contrasts. The rationale for selecting this specific work originated from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the three DANCES, their structural embryo is, on a small scale, the basis for most of the later works.” Although the scope of the research did not allow for a comparative analysis, it is strongly believed that the conclusions reached in this study could also be applicable to many of Rainier’s other works, especially of the early period. The study consists of an introduction in which the Barbaric Dance Suite is contextualised, followed by the main body of the thesis that consists of a detailed analysis of each of the three movements. The foremost method of analysis used is set theory analysis, which could be briefly described as a method whereby (particularly atonal) music is segmented and categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch, traditional methods of analysis are employed to examine the other musical parameters. In the conclusion, the analytical results are contextualised with regard to existing pronouncements on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical system in Rainier’s music. The many complex pitch relations that were discovered by the intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in other works could lead authorities to revise the insistent pronouncements on her rhythmic use in favour of a more balanced assessment of all aspects of her compositional style.
Nadai, Robson Alexandre de. "Sonata para trombone e piano de Almeida Prado : uma analise interpretativa." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284338.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T14:44:34Z (GMT). No. of bitstreams: 1 Nadai_RobsonAlexandrede_M.pdf: 25475745 bytes, checksum: df71590de86e486da8c9f06689cfd48b (MD5) Previous issue date: 2007
Resumo: Esta dissertação de mestrado refere-se à Sonata para Trombone e Piano de Almeida Prado. Essa obra foi extraída da Sonata nº 3 para Piano solo do mesmo compositor. A peça é contextualizada através de informações obtidas com o próprio Almeida Prado, por meio de entrevista. Foram realizados dois tipos de análise: análise de material da Sonata para Trombone e Piano e análise comparativa entre a Sonata para Trombone e Piano e a Sonata nº 3 para Piano. A primeira mostra a macroestrutura da peça, os elementos que a compõem e faz uma abordagem pormenorizada de material, assim como um estudo da forma fazendo uma analogia entre a estrutura da Sonata para Trombone e Piano e a da sonata clássica, evidenciando os elementos que elas compartilham. A segunda mostra as semelhanças e diferenças entre as peças bem como uma explanação sobre o processo de permutação utilizado pelo compositor na elaboração da Sonata para Trombone e Piano. O resultado das análises mostrou que as peças são distintas apesar de utilizarem o mesmo material. A dissertação é concluída com um capítulo destinado aos trombonistas, com exercícios técnicos e sugestões para a interpretação da Sonata para Trombone e Piano
Abstract: This master's degree dissertation refers to the Sonata for Trombone and Piano by Almeida Prado. This piece was taken from Sonata no.3 for Piano solo by the same composer. The piece is contextualized through information obtained with the Almeida Prado, through interview. Two types of analysis were performed: analysis of material from Sonata for Trombone and Piano and comparative analysis between the Sonata for Trombone and Piano and the Sonata no. 3 for Piano. The first one shows the macro structures of the piece, the elements that constitute it and detailed approach of material, as well as a study of the form making an analogy between the structure of the Sonata for Trombone and Piano and the classic sonata, evidencing the elements they share. The second analysis shows the likenesses and differences between both pieces as well as an explanation about the permutation process used by the composer in the elaboration of the Sonata for Trombone and Piano. The result of the analyses showed that the pieces are distinct in spite of utilizing the same material. The dissertation is concluded with a chapter destined for trombonists, with technical exercises and suggestions for the interpretation of the Sonata for Trombone and Piano
Mestrado
Praticas Interpretativas
Mestre em Música
Wong, Hock-wei Wendy, and 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.
Full textShin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
Full textChapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.
Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
Maluf, Shireen. "Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.
Full textThe aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.
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/.
Full textAhn, Joel 1957. "A Stylistic Evaluation of Charles Valentin Alkan's Piano Music: a Lecture Recital, together with Three Recitals of Selected Works of J.S. Bach, Beethoven, Brahms, Liszt, Schumann, and Villa-Lobos." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332384/.
Full textMILLER, KATHLEEN A. "Valery Gavrilin: A Theoretical and Historical Analysis of Select Works for Voice and Piano." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1201116646.
Full textLi, Hanhan. "Stephen Chatman's Piano Fantasies (1993): An Instructional and Performance Guide for Teachers and Intermediate Piano Students." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505243/.
Full textPereira, Gesiel Vilarubia 1986. "Estruturações melódico-harmônicas nos 50 Ponteios de Camargo Guarnieri /." São Paulo, 2017. http://hdl.handle.net/11449/151366.
Full textBanca: Lutero Rodrigues da Silva
Banca: César Henrique Rocha Franco
Resumo: Tendo como objeto de estudo os 50 Ponteios para piano de Camargo Guarnieri, este trabalho se concentra na análise de suas estruturações melódicas e harmônicas, almejando compreender aspectos estruturais da poética do compositor neste ciclo de peças. Apresenta-se, inicialmente, um diálogo entre as transformações sofridas pela escritura melódico-harmônica de Guarnieri durante o período de composição desta coleção e uma contextualização histórico-estilística, na qual são focalizadas, principalmente, suas buscas por um nacionalismo influenciado por Mário de Andrade e suas experiências com diferentes idiomas harmônicos. Propõe-se, ainda como texto preparatório para as análises, uma classificação textural dos 50 Ponteios e, ainda, a verificação de algumas constâncias formais dentro desta coleção.Nos capítulos seguintes, esta dissertação se direciona para a verificação das escolhas dos materiais presentes na construção das melodias e harmonias e se estende sobre observação dos procedimentos composicionais característicos de Guarnieri - sua poética. A partir desta investigação analítica, constatamos, nos Ponteios e em outras obras do compositor, a recorrência de um motivo melódico o qual denominamos Motivo Guarnieri. Na dimensão harmônica, chamou-nos a atenção a reincidência de uma determinada estrutura harmônica simétrica, utilizada com função Dominante nos momentos cadenciais, além do cuidado, por parte do compositor, em usar estruturas simétricas nos contextos escalares, harmôni... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The aim of this work is to study the 50 Piano Ponteios of Camargo Guarnieri, focusing on the analysis of their melodic and harmonic structures, seeking to understand the structural aspects of the composer's poetics in this cycle of pieces. We initially examine the transformations incurred by Guarnieri's melodic-harmonic writing in the period that this collection was composed, and a produce a historical-stylistic contextualization. This contextualization focuses on the Brazilan nationalism which was influenced by Brazilian philosopher and critic Mário de Andrade, and Guarnieri's experiences with different harmonic languages. In preparation for the analysis, a textural classification of the 50 Ponteios is performed, as well as a verification of some formal consistencies within this collection. The dissertation is also directed to the examination of the choices of the materials present in the construction of the melodies and harmonies, and extends to the observation of the compositional procedures characteristic of Guarnieri - in other words, his poetics. From this analytical investigation we can observe, in the Ponteios and in other works by this composer, the recurrence of a melodic motif which we call The Guarnieri Motive. In terms of harmony, we are struck by the recurrence of a specific symmetrical harmonic structure, used as dominant function in cadential moments. We may also verify the care the composer took to use symmetrical structures in scalar, harmonic and formal con... (Complete abstract click electronic access below)
Mestre
Kang, Mahn-Hee. "Robert Schumann's piano concerto in A minor, Op. 54 : a stemmatic analysis of the sources /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225222077.
Full textAutry, Philip Earl. "The published solo piano music of Howard Hanson : an analysis for teaching and performing /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.
Find full textYeh, Gloria Nye-Gin. "Beethoven's Piano Concerto in C Major, opus 15: structural analysis and performance strategies /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335548904.
Full textHinners, Sunghee Lee. "Fauré's piano quartet in C minor, op. 15: analysis and performance guide for pianists." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2518.
Full textChou, Lin-San. "Analysis of and Performance Suggestions for Astor Piazzolla’s Piano Solo Work, Three Preludes: Leijia’s Game, Flora’s Game, Sunny’s Game." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273250807.
Full textAng, Kathryn. "Teaching Western classical piano music effectively in West Malaysia." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41371.
Full textDissertation (MMus)--University of Pretoria, 2013.
gm2014
Music
unrestricted
Kim, Kunwoo. "Korean dance suite for piano by Young Jo Lee an analysis /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/748.
Full textVieira, Maria. "A Study of Compositional Elements in Ciclo Brasileiro by Heitor Villa-Lobos." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1493993717088909.
Full textGregorio, Joseph. "Concerto for Piano and Orchestra and Sonata Form in Sergey Prokofiev's First Piano Concerto: An Analysis from the Perspective of Hepokoski and Darcy's Sonata Theory." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/540539.
Full textD.M.A.;
This dissertation comprises two parts: an original composition, Concerto for Piano and Orchestra; and an essay that analyzes the form of Prokofiev’s Piano Concerto No. 1 in D-flat Major, op. 10. Concerto for Piano and Orchestra is cast in three movements and scored in two versions: In “Version A,” members of the orchestra are at times called on to use their voices to sustain the phonemes [m], [ŋ], and [v] on pitch and to create an intense whisper on the vowel [æ]. “Version B” is an alternative realization that uses instruments only. The first movement, unable to produce a recapitulation and continually interrupted at decreasing intervals of time by increasingly intense outbursts from percussion, brass, and wind instruments, is an extreme deformation of a sonata-concerto form. It proceeds attacca to the second movement, which is built in a large ternary form. The third movement is a concerto adaptation of James Hepokoski and Warren Darcy’s “expanded Type 1” sonata form. The concerto’s total duration is approximately 30 minutes. The essay considers the form of Prokofiev’s Piano Concerto No. 1 from the perspective of Hepokoski and Darcy’s Sonata Theory, as laid out in their seminal 2006 treatise. It finds that Prokofiev’s Piano Concerto No. 1 is a highly individualized instance of Hepokoski and Darcy’s “Type 3” sonata form with introduction-coda frame. The essay’s analysis is preceded by a glimpse at Prokofiev’s experiences with sonata form during his youth, as well as brief reviews of the conceptual backdrop of concerto form as Prokofiev would have received it and of the basics of Sonata Theory.
Karydis, Dimitris. "Beethoven's annotations to Cramer's twenty-one piano studies : context and analysis of performance." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8460/.
Full textYU, YEUNG. "A Style Analysis of William Bolcom’s Complete Rags for Piano." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1177096593.
Full textSwan, Robert Hathaway. "The piano concertos of Saint-Saens with a detailed analysis of no. 5, the "Egyptian"." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185327.
Full textBacovis, Andrey Costa. "Elementos formais, texturais e interpretativos nas sonatas para piano de João Domingos Bomtempo (1775-1842) /." São Paulo, 2017. http://hdl.handle.net/11449/151901.
Full textBanca: Eduardo Seincman
Banca: Luiz Brito Passos Amato
Abstract: This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo's piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo's Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities.
Resumo: Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas.
Mestre
Giareta, Eder Pessoa 1981. "As peculiaridades na escrita pianística de Ronaldo Miranda : sugestões interpretativas e técnico-musicais /." São Paulo, 2013. http://hdl.handle.net/11449/95099.
Full textBanca: Achille Guido Picchi
Banca: Ronaldo Coutinho de Miranda
Resumo: Pretende-se, neste trabalho, estudar a relação entre as obras para piano solo de Ronaldo Miranda, identificar os procedimentos composicionais utilizados pelo compositor e, a partir daí, extrair ferramentas que facilitem uma adequada interpretação musical das mesmas. O objeto deste projeto firma-se na interpretação musical, através das características notacionais da partitura à luz de um olhar analítico e do levantamento das peculiaridades da escrita pianística. Propõe-se que o intérprete tenha um conhecimento prévio dos elementos que são largamente utilizados pelo compositor e considere os exercícios técnicos sugeridos no último capítulo, compostos pelo autor deste trabalho, com base na identificação e recorrência dos padrões pianísticos composicionais de Ronaldo Miranda. Sendo assim, o pianista terá ao seu dispor recursos que fundamentarão uma postura interpretativa mais coesa, considerando o processo cognitivo, a percepção e a atenção dada no preparo para a execução da obra
Abstract: It is intended to study the relationship between the works for solo piano by Ronaldo Miranda, identifying the compositional procedures used by the composer and, thereafter extracting tools to facilitate a proper musical interpretation thereof. The object of this project is based on the musical interpretation, through the notational characteristics under an analytical view and setting up the peculiarities of the pianistic writing. It is proposed that the interpreter has prior knowledge of the elements that are widely used by the composer and consider the technical exercises suggested in the last chapter, composed by the author of this research, based on the identification and recurrence of pianistic patterns of Ronaldo Miranda. Thus, the pianist will have at his disposal, resources that will build a more cohesive rendition, considering the cognitive process, perception and attention given in preparation for performing the work
Mestre
Harrisberg, Shelley-Anne. "A structural, harmonic and stylistic analysis of Gabriel Fauré's Piano Quartet in C Minor Op. 15." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8149.
Full textIncludes bibliographical references (leaves 296-299).
Faure's oeuvre presents one of the most outstanding accomplishments in the history of French music. His style, though showing the influence of late-Romantic music, is unique and comprises some of the most inventive harmonic language to be found in Western music. It is characterised by the complex integration of advanced tonal and modal procedures. The purpose of this study is to examine certain aspects of Faure's style through an analysis of the composer's First Piano Quartet in C minor Op.15.The study is divided into two sections: a structural analysis which examines the overall formal structure of the work, as well as the larger and smaller formal structures within each movement, and a harmonic analysis which examines how Faure uses certain chord structures and harmonic procedures.The main source used for the study was the score of the Piano Quartet itself. Other major sources which proved invaluable in terms of providing a background to the composer's life, work and style, include works by Charles Koechlin, Percy Suckling, Robert Orledge and Jean-Michel Nectoux. Other works by Faure as well as those of other late-Romantic composers are used to compare or establish common stylistic tendencies and to examine possible influences. The conclusions are drawn directly from the analysis and are supported by various source materials. Those on formal structure include observations on Faure's use of sonata form and ternary form, his approach to thematic development, motivic elaboration, phrasing and texture, and his use of contrapuntal and rhythmic devices. Those on harmony are primarily concerned with the influence of modality on Faure's approach to harmony and include observations on Faure's use of triads, quru1ads, quintads, sextads and ambiguous compounds, and of pedal points and other non-chord notes.
Lin, Ya-Chiao. "The Two Sonatas for Violin and Piano by a Neglected Composer, Howard Ferguson: A Performer's Analysis." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392371929.
Full textJeric, Richard Henry. "Portrait of a Life: Analysis of the Ravel Piano Concerto in G." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304360997.
Full textBabin, Ann. "Music conservatories in Canada and the piano examination system for the preparatory student: A historical survey and comparative analysis." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26845.
Full textWang, Xiaoxi. "The Spanish music in China: a cross-culture analysis of Granados piano suite Goyescas." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22579.
Full textEste trabalho tem como principal objetivo a criação de uma performance que espelhe o cruzamento de duas culturas distintas: a espanhola e a chinesa. Através da Suite de Piano Goyescas, de Granados, concretizarei uma pesquisa que realizará o cruzamento destas duas culturas, tanto a nível histórico e social, como estético e musical. Sendo uma pianista de nacionalidade Chinesa, a estudar música em contexto europeu, tive a oportunidade de contactar com uma nova perspetiva da criação musical. Este facto, bem como o contacto mais direto com a cultura ocidental, e a espanhola em particular, revelaram-se para mim bastante importantes, constituindo-se objetos de investigação futura e que desejo muito espelhar na minha prática musical. Estes factos permitiram-me ainda desenvolver uma outra perspetiva sobre a obra de Granados, uma perspetiva que tem por base a minha leitura do seu trabalho. Para conseguir transmitir o seu pensamento e interesses musicais a um público que na grande maioria dos casos desconhece a sua obra e a cultura espanhola em particular, foi feito um estudo profundo da sua linguagem estética e musical. Do ponto de vista metodológico foi realizada uma pesquisa bibliográfica, diversas entrevistas a pianistas de diferentes países e uma análise da obra. Por outro lado, senti que era importante construir a minha interpretação de Goyescas. Para o facto, desenvolvi uma performance baseando-me na análise da sua linguagem musical, disponibilizando materiais de discussão a outros pianistas, chineses ou não, aquando de futuros estudos acerca desta temática. Foi ainda realizado um estudo aprofundado das técnicas de composição de Granados, procedendo-se ainda à análise do temperamento espanhol da obra e da sua relação com as pinturas de Goya. Acredito que o propósito deste trabalho não será apenas o de transmitir a música de Granados e as suas criações através da performance em palco, mas também o de encontrar um método que ajude pianistas da minha geração a compreender melhor a música deste compositor e, consequentemente, a tornar a música espanhola gradualmente mais reconhecida e presente nos reportórios de pianistas, nomeadamente os de nacionalidade chinesa.
This work aims to do cross-cultural research on the socio-historical, musical and performing aspects of Granados’ piano suite – Goyescas. As a Chinese pianist studying music in a European context, I was able to come into contact with a new perspective of music which I desire to study. At the same time, a distinct position in relation to Granados’ works was taken in the scope of my personal and psychological judgement of his works. In order to express Granados’ musical thoughts, as precisely as possible, to the Chinese audience, a deepened awareness of the musical language and musical imagination of Granados’ works was undergone. This work was supported by bibliographical research, interviews with pianists from different countries, and my personal performing experiences. I felt that it was important to include my personal interpretation, to discuss the playing experience provided to Chinese pianists for their future studies of this music, based on the analysis of Granados’ musical language. To accomplish this, his composing techniques, the Spanish temperament of Goyescas and its relation to Goya’s painting was also relevant to my study. It is my belief that the significant propose of this work is not only to transmit Granados’ music and his notions through performing on the stage for the audience, but also to find a method which helps pianists of my generation to better understand Granados’ music, and consequently, make Spanish piano music become gradually more recognized in the repertoires of Chinese pianists.
Souza, Iracele Aparecida Vera Livero de 1961. "Louvação a Eunice : um estudo de analise da obras para piano de Eunice Katunda." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284061.
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Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem como principal objetivo realizar uma análise da obra para piano de Eunice Katunda (1915-1990), peças compostas no período de 1946 a 1982. Foi realizado o levantamento das peças, o estudo ao piano, a análise individual, bem como um exame das ferramentas analíticas mais adequadas e pertinentes, conforme características peculiares de cada uma. O estudo de análise investigou as técnicas e os procedimentos da composição, quanto a organização do material utilizado. A fim de contextualizar a compositora e sua obra, fez-se um levantamento biográfico e histórico, amparado por cartas, entrevistas e artigos de jornais obtidos em acervos públicos e particulares, entre os quais os da própria compositora. A conclusão reúne informações de maior interesse obtidas através da análise, identificando o material e as técnicas de composição empregadas o que contribui para a compreensão da linguagem da compositora. O trabalho tem como complementação a editoração destas peças, que se encontram em manuscritos e a gravação de duas peças executadas pela autora deste trabalho. A pesquisa visou ao estudo, à análise e à divulgação de uma compositora pouco estudada e conhecida na música contemporânea brasileira, pretendendo contribuir para mais uma fonte de estudos da música brasileira para piano do século XX.
Abstract: The main objective of this thesis is to analise Eunice Katunda's (1915-1990) piano works composed between 1946 and 1982. The analytical tools were chosen according to the peculiarities of each piece taking in consideration compositional procedures and techniques related to the organization of the musical material employed by the composer. In order to contextualize the composer and her output, a biographical study was made based on personal letters, interviews and newspaper articles obtained in her personal files in order to put into prospective the analyses. Information obtained by the analysis afforded a conclusion in respect to the material, the compositional techniques and idiom of the composer. Complementary to the thesis is added an edition of the pieces, which were previously in manuscript, as well as a recording of two pieces by this author. This research aims an analysis, the study and divulgation of a scarcely known and lesser studied Brazilian composer, as a contribution to the better comprehension of the twentieth-century Brazilian piano music.
Doutorado
Doutor em Artes (Música)
Kim, Seon Ok. "Analysis and Performance Aspects of Donald Harris’ Sonata for Piano." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268251022.
Full textSzabo, Michael. "Utilizing Immediate Feedback in Piano Pedagogy." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6147.
Full textMadar, Armaan. "Kaija Saariaho’s Quatre Instants from a pianist’s point of view : an interpretation of the song cycle." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3630.
Full textThe sounding part of the work consists of the following recording: ljud. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording is archived and may be supplemented.
Lee, Margaret Jackson. "A critical analysis of selected piano works by Hubert du Plessis." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002310.
Full textBaldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.
Full textIshihama, Kanako. "Triangles of Soul—Schubert the “Wanderer” and His Music Explained by Neo-Riemannian Graphs." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23148.
Full textPinto, Ribeiro Bruno Alfredo. "Exploring authenticity in performance : a comparative performance analysis of Arnold van Wyk’s Night Music for piano." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1924.
Full textArnold van Wyk was a composer and a pianist. He recorded his largest work for piano, Night Music (1958), on LP in 1963. Steven de Groote performed Night Music on 21 July 1984 at the Cheltenham International Festival of Music. This live performance was broadcast on BBC Radio 3 on 24 September 1984 and a copy of this broadcast exists in the Arnold van Wyk collection in the J.S. Gericke Library at Stellenbosch University. Night Music is a perfect example of Van Wyk’s compositional techniques for the keyboard. It demands a considerable musical imagination and piano technique from the performer. The score of Night Music contains many detailed instructions regarding the different musical parameters and it also encloses unusual terms such as glacial or lugubre. It shows that the composer is extremely concerned to control all aspects of the performance and expects great depth of interpretation of the performer. Analysing the score of Night Music together with a performance by the composer enables one to consider two versions of “authenticated text”. The comparison between Arnold van Wyk’s recording, score and Steven de Groote’s performance allows the researcher to draw conclusions about score fidelity as a condition for “authenticity” in performance. Therefore, the primary aim of this research project is to yield interesting perspectives on notions of authenticity in performance with regard to these two particular performances of Night Music. The main body of this thesis consists of four chapters. In Chapter One a philosophical discussion about authenticity in performance is presented. Chapter Two focuses on the contextualisation of the work under discussion, including the reception and a short analysis of Night Music. It is followed by Chapter Three which compares the pianism of Arnold van Wyk and Steven de Groote. These latter two chapters form the background of the comparative performance analysis of the renditions of Night Music by these two performers which are presented in Chapter Four. Through the careful comparative analysis of Arnold van Wyk’s and Steven de Groote’s performances of Night Music it was possible to observe that a composer can present a version of his work that departs quite radically from the score. As “authenticity in performance” strives to honour the composer’s intentions as notated in the score, this discrepancy illustrates the controversial nature of the discourse on the “authentic” in music.