Dissertations / Theses on the topic 'Rachmaninoff'
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Koren, Martin Eikeset. "Rakhmaninovs opus 37 Vesper : Analyse som grunnlag for egen kompositorisk praksis." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for musikk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-15520.
Full textCheng, Ruby. "Rachmaninoff the composer-pianist aspects of pianism in his Piano concerto no. 3 in D minor /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512501&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textMaritz, Gerhardus Petrus. "Rachmaninoff, Horowitz, and the discursive arena between (re)composition and performance : the case of Rachmaninoff's Piano Sonata, opus 36." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020784.
Full textGehl, Robin S. "Reassessing a Legacy: Rachmaninoff in America, 1918 – 43." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1227105259.
Full textAdvisor: Bruce McClung PhD (Committee Chair), Jeongwon Joe PhD (Committee Member) , Robert Zierolf PhD (Committee Member). Title from electronic thesis title page (viewed Feb. 9, 2009). Keywords: Rachmaninoff; Steinway; Recordings; Piano performance; America; Twentieth Century; Reception. Includes abstract. Includes bibliographical references.
Lundtvedt, Natalya V. "Rachmaninoff and Russian pianism performance issues in the Piano concerto in C minor, opus 18 / by Natalya V. Lundtvedt." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1581455111&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textIvanova, Anastassia. "Sergei Rachmaninoff`s piano concertos the odyssey of a stylistic evolution /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3544.
Full textThesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Mo, Hea-Kyoung. "The use of fantasies in piano works from Mozart to Rachmaninoff." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3072.
Full textCollins, Dana Livingston. "Form, harmony, and tonality in S. Rakhmaninov's three symphonies." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/184555.
Full textLee, Sanghie. "Rachmaninoff's Early Piano works and the Traces of Chopin's Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1539960507461835.
Full textKonoval, Michael Brandon. "Two piano recitals : solo and chamber music of Bartok, Brahms, Mozart and Rachmaninoff." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27375.
Full textWu, Ching-Jen. "Twelve Rachmaninoff songs as transcribed for piano by Earl Wild : an introductory study." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260290350.
Full textMcLean, Florence Anne. "Rakhmaninov's "Corelli" variations : new directions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31115.
Full textArts, Faculty of
Music, School of
Graduate
Radiushina, Marina. "A Performer's Perspective on the Technical Challenges and Interpretive Aspects of Sergei Rachmaninoff's Etudes-Tableaux Opus 39." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/202.
Full textKang, Heejung. "Rachmaninoff's Rhapsody on a Theme by Paganini, Op.43; Analysis and Discourse." Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/kang%5Fheejung/index.htm.
Full textKono, Yutaka. "Discussion of transcribing music for tuba and a transcription of Sergei Rachmaninoff's Sonata for cello and piano in G minor, op. 19 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075616.
Full textKo, Cha-Hui. "Solutions to technical difficulties in the rhapsody on a theme by Paganini, Opus 43 of Rachmaninoff." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384532673.
Full textMichelson, Helena. "I. Music and poetic word : the romances of Sergei Rachmaninoff ; II. A journey metamorphosed for orchestra /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.
Full textPisano, Paul W. "Ursatz, Grundgestalt, and Hyperdissonance: Post-Kuchkist Compound Syntax in Rachmaninoff Etudes-Tableaux, Op. 39, Nos. 1-3." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404385.
Full textRuttle, Mark. "Aspects of a Late Style in Sergei Rachmaninoff's Variations on a Theme of Corelli, Op. 42: a Lecture Recital, together with Three Recitals of Selected Works of J. Brahms, L. v. Beethoven, F. Chopin, C. Debussy, Zoltan Kodaly, M. Moussorgsky, and S. Prokofiev." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330593/.
Full textBuxton, Robert S. "Musical Time and Memory: A Bergsonian Interpretation of Sergei Rachmaninoff's Prelude Op. 32 No. 10 in B Minor." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248480/.
Full textLuo, Yeou-Huey. "The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332339/.
Full textKwon, Suk-Rahn. "Young-Jo Lee's Variations on the theme of Baugogae: In search of his own language, a lecture recital, together with three recitals of selected works of J. Haydn, S. Rachmaninoff, R. Schumann, O. Messiaen, and F. Liszt." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2464/.
Full textHansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.
Full textChiao, Yuanpu. "The changing style of playing Rachmaninoff's piano music." Thesis, King's College London (University of London), 2012. https://kclpure.kcl.ac.uk/portal/en/theses/the-changing-style-of-playing-rachmaninoffs-piano-music(222322e7-28b1-4a7c-90d2-70a778871d08).html.
Full textDoti, Jacopo <1984>. "L'apprendistato e il debutto operistico di Sergej Rachmaninov." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6576/1/Doti_Jacopo_tesi.pdf.
Full text«Une chose manqueé»: that’s what Borodin said, after hearing The Marriage, an unfinished opera by Mousorgsky. A similar comment may be expressed regarding Rachmaniov’s operatic legacy. Though, in this case we are facing a different kind of problem: the composer’s output is not an experimental cul-de-sac, but a tantalizing torso, which «one cannot contemplate without as sense of loss», as Richard Taruskin puts it. The present thesis aims at investigating Rachmaninov’s early operatic production through primary sources (literary texts, scores, letters, memoirs) and critical studies. The core of this dissertation is a thorough analysis of the one-act opera Aleko, presented by the composer as a graduating work at the Moscow Conservatory. The opera is analyzed in its poetic, dramatic, theatrical and morphological structures. Attention is paid also to the critical reception of the opera thorough an examination of contemporary reviews and recent secondary sources. A critical edition of the libretto with an Italian translation is supplied as well. The framework of the analysis consists in two different chapters: the first one is about Rachmaninov’s reception as a composer, the second one consists in an aperçu of the composer’s later operatic career.
Doti, Jacopo <1984>. "L'apprendistato e il debutto operistico di Sergej Rachmaninov." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6576/.
Full text«Une chose manqueé»: that’s what Borodin said, after hearing The Marriage, an unfinished opera by Mousorgsky. A similar comment may be expressed regarding Rachmaniov’s operatic legacy. Though, in this case we are facing a different kind of problem: the composer’s output is not an experimental cul-de-sac, but a tantalizing torso, which «one cannot contemplate without as sense of loss», as Richard Taruskin puts it. The present thesis aims at investigating Rachmaninov’s early operatic production through primary sources (literary texts, scores, letters, memoirs) and critical studies. The core of this dissertation is a thorough analysis of the one-act opera Aleko, presented by the composer as a graduating work at the Moscow Conservatory. The opera is analyzed in its poetic, dramatic, theatrical and morphological structures. Attention is paid also to the critical reception of the opera thorough an examination of contemporary reviews and recent secondary sources. A critical edition of the libretto with an Italian translation is supplied as well. The framework of the analysis consists in two different chapters: the first one is about Rachmaninov’s reception as a composer, the second one consists in an aperçu of the composer’s later operatic career.
Lasarenko, Kim Andrei. "A Style Change in Rachmaninoff's Piano Music as Seen in the Second Piano Sonata in B-Flat Minor, Opus 36 (1913 and 1931 Versions)." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389185090.
Full textTamura, Atsushi. "The revision of Rachmaninoff's second piano sonata, Op. 36." Thesis, Ulster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485470.
Full textTimoščuk, Roman. "Přehled klavírního díla Sergeje Rachmaninova, jeho tématika a psychologické aspekty." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78802.
Full textŠvehláková, Zdeňka. "Klavírní dílo S. Rachmaninova se zaměřením na cyklus Moments Musicaux." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177955.
Full textWiniarski, Sofia. "Från Rachmaninov till Celibidache : En essä om (o)medvetandets musicerande." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3112.
Full textExamenskonsert i orkesterdirigering.
Kortversion av Mozarts Figaros bröllop, tillsammans med, och i bearbetning av bl a Cecilia Eriksson och Nils Löfgren. Sinfonietta med studenter från Kungliga musikhögskolan. Regi Ninni Molin.
Bystritskaya, Alina. "Les oeuvres de S. Rachmaninov d'apres des textes d'A. Pouchkine." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080012.
Full textThe research work presented in our dissertation, Rachmaninov's works on Pushkin's texts, is based on a large literary corpus. It isa matter of understanding how musical transposition of literary works occurs. The guiding thread of the dissertation is basically thefruitful dialogue between the text and the music. Within this dissertation, our interest mainly focused on the musical creation oftwo operas: Aleko and The Miserly Knight. We also contributed to the study of short pieces, such as romances. The reflection wehave carried out throughout this dissertation is based on the musical adaptation of written texts. Therefore, it is important tounderstand how the meeting between two languages occurs, and to perceive the creative act by which Rachmaninov succeeds tomake Pushkin's written works “sing”. It is from the texts studies that the musical analysis of Rachmaninov’s operas got realized.The booklet of the Aleko opera inspired by the long poem The Gypsies is set fo the success of an academic test. On the contrary,the composer freely took possession of the text of The Miserly Knight to adapt it to the opera. Each of these two texts containsmany constraints. To what extent did Rachmaninov succeeded in maintaining the meaning of these works? For The MiserlyKnight, the question arises less than for Aleko’s. In fact, the long poem of Pushkin, The Gypsies, transformed into a booklet underthe title Aleko, contains many romantic motifs specific to the exiled youth of the poet. Written in a bubbling period that echoes toByron and to romanticism which extends in Europe as a huge cultural and political movement, this poem is carried by a particularbreath. It is not certain that opera has maintained this original dazzling around the notion, then much debated, of freedom. On theother hand the work of the composer makes it possible to echo the collective soul of the Gypsies and the lyricism disenchanted bycombining voices and orchestra. There is a real quest for sound effects in Rachmaninov's adaptation, at the expense of the firstsense and original meaning of the poem. With Aleko, the composer follows a certain tradition, with The Miserly Knight, he takeshis own marks and fully enters in a claimed form of modernity. This piece famed as impossible to adapt musically enables thecomposer to enrich his thought. Indeed, he is inspired by the work previously carried out by Stanislavskii for the staging of adrama that sounds really tragic. The adaptation is a real aesthetic challenge to the opera’s laws of the genre. Rachmaninov takes upthe challenge, this time, without disowning the text. Then, the originality of the musical creation consists in the harmony foundbetween the male voices of the opera and the orchestra.Thus, the notion of word painting appears as central and essential in our research work. If the term belongs more to the analysis ofbaroque music, it keeps its full meaning in the context of a study devoted to the painter of feelings such as Rachmaninov. Thecomposer style fully relies on the use of these word paintings when he adapts Pushkin. The thesis shows that if Rachmaninov hasfound a musical style, both singular and powerful, it is all due to the Pushkin’s work
Bystritskaya, Alina. "Les oeuvres de S. Rachmaninov d'apres des textes d'A. Pouchkine." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080012.
Full textThe research work presented in our dissertation, Rachmaninov's works on Pushkin's texts, is based on a large literary corpus. It isa matter of understanding how musical transposition of literary works occurs. The guiding thread of the dissertation is basically thefruitful dialogue between the text and the music. Within this dissertation, our interest mainly focused on the musical creation oftwo operas: Aleko and The Miserly Knight. We also contributed to the study of short pieces, such as romances. The reflection wehave carried out throughout this dissertation is based on the musical adaptation of written texts. Therefore, it is important tounderstand how the meeting between two languages occurs, and to perceive the creative act by which Rachmaninov succeeds tomake Pushkin's written works “sing”. It is from the texts studies that the musical analysis of Rachmaninov’s operas got realized.The booklet of the Aleko opera inspired by the long poem The Gypsies is set fo the success of an academic test. On the contrary,the composer freely took possession of the text of The Miserly Knight to adapt it to the opera. Each of these two texts containsmany constraints. To what extent did Rachmaninov succeeded in maintaining the meaning of these works? For The MiserlyKnight, the question arises less than for Aleko’s. In fact, the long poem of Pushkin, The Gypsies, transformed into a booklet underthe title Aleko, contains many romantic motifs specific to the exiled youth of the poet. Written in a bubbling period that echoes toByron and to romanticism which extends in Europe as a huge cultural and political movement, this poem is carried by a particularbreath. It is not certain that opera has maintained this original dazzling around the notion, then much debated, of freedom. On theother hand the work of the composer makes it possible to echo the collective soul of the Gypsies and the lyricism disenchanted bycombining voices and orchestra. There is a real quest for sound effects in Rachmaninov's adaptation, at the expense of the firstsense and original meaning of the poem. With Aleko, the composer follows a certain tradition, with The Miserly Knight, he takeshis own marks and fully enters in a claimed form of modernity. This piece famed as impossible to adapt musically enables thecomposer to enrich his thought. Indeed, he is inspired by the work previously carried out by Stanislavskii for the staging of adrama that sounds really tragic. The adaptation is a real aesthetic challenge to the opera’s laws of the genre. Rachmaninov takes upthe challenge, this time, without disowning the text. Then, the originality of the musical creation consists in the harmony foundbetween the male voices of the opera and the orchestra.Thus, the notion of word painting appears as central and essential in our research work. If the term belongs more to the analysis ofbaroque music, it keeps its full meaning in the context of a study devoted to the painter of feelings such as Rachmaninov. Thecomposer style fully relies on the use of these word paintings when he adapts Pushkin. The thesis shows that if Rachmaninov hasfound a musical style, both singular and powerful, it is all due to the Pushkin’s work
Swanevelder, J. de Ville. "'n Analitiese ondersoek van sewe van Sergei Rachmaninof se Preludes, opp. 23 en 32." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/15430.
Full textTen spyte van toenemende belangstelling in die solo-klavierwerke van Sergei Rachmaninof, is daar nog steeds beperkte studies vir die bestudering daarvan beskikbaar. Die doel van hierdie studie is die ontleding van 'n aantal aspekte wat 'n invloed op die bestudering en uitvoering van sewe van Rachmaninof se Preludes,.Opp. 23 en 32, het. In die studie word die historiese gebeure rondom sy lewe bespreek, wat dien as agtergrond tot die komposissie van Rachmaninof se Preludes. Die bespreking oor die klawerbordprelude verwys na die onstaan van klawerbordpreludes, die preludes uit Das Wohltemperierte Clavier van J. S. Bach, en volg dan die ontwikkeling van diengenre met die Preludes van Chopin en Rachmaninof. Sodoende word Rachmaninof se Preludes binne perspektief tot die ontwikkeling van die genre geplaas. In die laaste hoofstuk word 'n styl-tegniese ontleding van die sewe preludes van Rachmaninof gedoen, met verwysing na musikale inhoud en uitvoeringsprobleme. Ten slotte word gevolgtrekkings ten opsigte van die bespreekte werk gemaak.
Caillet, Laurent. "L'œuvre pour piano de Serge Rachmaninov (1873-1943) : langage et style." Paris 4, 2007. http://www.theses.fr/2007PA040244.
Full textIn the world of early twentieth century music, Sergei Rachmaninov (1873-1943), the Russian composer, pianist and conductor, is a paradox. Although he stayed rather outside the musical trends of his time, he nevertheless developed a surprisingly original aesthetic approach, with a distinctive style within the field of Russian music. Taking into account his entire works for piano and his phonographic recordings as pianist, we attempt to identify and systematise the various constants of his musical language and pianistic style. Using typical writing procedures, the composer contributed, in his way, to the renewal of music for the piano, and created a monumental style wherein lyricism, harmonic sumptuousness and virtuosity are tightly mixed. This analytical work led us to consider more precisely Rachmaninov's place in the world of music in his time. Rachmaninov was deeply marked by his country of birth, and influenced by the esthetics of the romantic composers, and his collected works, of a great richness, are intimately linked to the problems of the first half of the twentieth century
Chung, So-Ham Kim. "An analysis of Rachmaninoff's Concerto no. 2 in C minor, op. 18 : aids towards performance." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1235232062.
Full textGeneralow, Alice. "The Orthodox Concert Stage: Performing Rachmaninoff's All-Night Vigil, Op. 37 in a Liturgical Style." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594557.
Full textLee, Ji Young. "A Style Study of Sergei Rachmaninoff's and Lowell Liebermann's Rhapsodies on a Theme of Paganini." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047656.
Full textChung, So-Ham Kim. "An analysis of Rachmaninoff's Concerto No. 2 in c minor, opus 18: Aids towards performance /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487591658173218.
Full textIvsinovic, Karmela. "Pianoteknik en konstnärlig och pedagogisk utmaning : från start till slutresultat med Rachmaninovs Preludium Op. 32 No. 10 i b-moll." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2344.
Full textNordmark, Linus. ""Bra musik finns ju redan" : En processbeskrivning av hur man drar nytta av en annan tonsättares mästerverk." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64034.
Full textChang, Lin-Min. "A Study of Tyzen Hsiao’s Piano Concerto, Op. 53:A Comparison with Rachmaninoff’s Piano Concerto No. 2." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525704884317404.
Full textCunha, Taíssa Poliakova Pacheco. "A influência dos sinos em obras para piano de Messiaen, Debussy e Rachmaninov e as respectivas consequências na sua performance." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/21824.
Full textEste trabalho procura confrontar as características específicas das diferentes tradições sineiras, quer da Europa, quer da Rússia, com as obras Noël de Olivier Messiaen, Cloches à travers les feuilles de Claude Debussy e Sonata op. 36 nº 2 de Sergei Rachmaninov. Para isso, são apresentadas e estudadas as escolas sineiras, analisados os trechos musicais com inspiração sineira das obras seleccionadas e enquadrados biograficamente os três autores em causa. Através desta confrontação encontrei soluções técnicas e interpretativas para os referidos trechos musicais que respeitam as diferentes especificidades das tradições sineiras inspiradoras. Pretendo, também, demonstrar que este conhecimento pode sustentar uma performance fiel aos mundos musical, cultural e social destes compositores.
This work seeks to confront the specific characteristics of the different bellringing traditions, both European and Russian, with the pieces Noël by Olivier Messiaen, Cloches à travers les feuilles by Claude Debussy and Sonata op. 36 no. 2 by Sergei Rachmaninov. For this purpose, I present and study these bellringing schools, analyze the musical excerpts with bellringing inspiration of the selected pieces and contextualize the three above-mentioned authors biographically. Following of this confrontation I propone technical and interpretative solutions for the afore-mentioned musical excerpts which respect the different specificities of the bellringing traditions that inspired them. It is also my intention to demonstrate that this knowledge can support a performance that is faithful to the musical, cultural and social worlds of these composers.
Lin, Kuo-chen, and 林幗貞. "The interpretation of Rachmaninoff." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/40568287174850800430.
Full text國立臺灣師範大學
音樂研究所
90
This thesis is the thorough research regarding the interpretation and realization in the performance of Sergei Rachmaninoff’s piano work “Variations on a theme of Chopin,op.22” written in 1902. In this paper,the author departs from the inspirations and background of the Variations’ composition, the detailed analysis of each variation, and the thorough comparison of the Variations. To conclude the analysis of each variation, it is strict and still within the criteria of the theme in variation I to X in modes, structures, harmonies.few breaks between each variation in performance. Since the variation XI and the following, it shows freer and more individual in style. The relationship between theme and variation escapes from the precedent mechanical characteristic to merely maintain of motivic and rhythmic patterns. Because of the apparent modal and structural changes, it needs a short break between variations to show the unique and individuality in performance. The juxtaposition of the compositional techniques, musical structures, highly virtuosic style, and the bravura group of notes in complexity of reading, present the definite piano music style of Russian Post-Romanticism. According to the examination of the compositional design, it is a good variation to discover the special arrangement of the tempo and rhythm, to display the variety in texture, and the best example to show off the genre itself with the highly compositional techniques. To performers, from handling the basic elements of the tempo changes to further realizing the sound texture, voicing, the elaboration of counterpoint and harmonies, the color, and sonority, they become the major issues to work on. This research, indeed for pianists, is pursuing the goal of interpretation accuracy, inspiration, and achieving the accomplishment in balance between rationality and sensitivity.
Glover, Angela Streem James. "An annotated catalog of the major piano works of Sergei Rachmaninoff." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08262003-154535/.
Full textAdvisor: James Streem, Florida State University, School of Music. Title and description from treatise home page (viewed 9-23-04). Document formatted into pages; contains 86 pages. Includes biographical sketch. Includes bibliographical references.
Wu, Yen-Jin, and 吳彥瑾. "Sergei Rachmaninoff Preludes for piano." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/8wmy4r.
Full textWu, Jung-wei, and 吳容維. "A Study of Sergei Rachmaninoff “Preludes,” Op. 32." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/qe4dx7.
Full text國立臺南大學
音樂學系碩士班
100
Scope of this research is narrow down to “Preludes, ”Op.32 which was written in 1910 by Sergei Rachmaninoff. Rachmaninoff had presented his debut and following tour in America in 1909. This debut was a great success and the audiences were admiring his efforts on performing. This great achievement enhanced his confidence on composition and inspired him for creating this research subject, “Preludes, ”Op.32 in the following year. This creation is also considered as a mature one. This research starts from discussing the development of preludes from references, and follows with some words on Rachmaninoff’s life and important elements which shaped or influenced his music style. Afterwards, the essay will bring a further discussion under the background of his Prelude, especially Op. 32. First, we will analyze all these 13 preludes on their structures and music styles; then finalize it with whole scale integration among rhythm, harmony, texture, melody, and structure. Following the steps above, it is shown the innovation of Rachmaninoff’s “Preludes, ” Op.32 is not on forms, but on combining his personal style into harmony, rhythm, and texture. To describe more specifically, in harmony aspect, he used more chromaticism and seventh chord to gain creativity; in rhythm aspect, he used short rhythms to endue lives to music; in texture aspect, he put several textures to color music. The purpose of this research is to make performers read more into Rachmaninoff’s music style and the true value of “Preludes, ” Op.32itself.
Wen-chin, Chen, and 陳玟瑾. "The Study of Rachmaninoff Piano Concerto No.3." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/10266493037498914283.
Full textHuang, Chiao-Li, and 黃喬莉. "The Analysis and Interpretation of Rachmaninoff’s《Moment Musicaux》 The Analysis and Interpretation of Rachmaninoff’s《Moment Musicaux》 The Analysis and Interpretation of Rachmaninoff’s《Moment Musicaux》 The Analysis and Interpretation of Rachmaninoff'." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/42565008930150952634.
Full text國立臺北教育大學
音樂學系碩士班
97
Abstract In the late 19th century, many new trends emerged from musical field, including Impressionism and Expressionism. In spite of that, the Russian composer, Sergei Rachmaninoff, still succeeded to the compositional manner of the Romantic period and enhanced it. He was not only a brilliant pianist, but also a fantastic conductor. His recordings are still wide-spreaded. This thesis takes Rachmaninoff’s 《Moment Musicaux》as the topic with the goal of understanding his music style and compositional technique. The first part of this paper is the study of Rachmaninoff’s life and piano works. The second part is the analysis of《Moment Musicaux》to its content. The last part is the performance interpretation. It is hoped that by way of having an in-depth understanding of 《Moment Musicaux》, better interpretations of these pieces are presented while performing them. Keywords:Rachmaninoff、the Russian composer、Moment Musicaux
Wu, Yu-Ping, and 吳玉萍. "Sergei Rachmaninoff Cello Sonata in G minor, op.19." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/vq9jtd.
Full text國立臺北藝術大學
管絃與擊樂研究所碩士班
99
Sergei Vasilievich Rachmaninoff1 April was a Russian composer, pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom that included a pronounced lyricism, expressive breadth, structural ingenuity, and a tonal palette of rich, distinctive orchestral colors. The piano is featured prominently in Rachmaninoff''s compositional output. He made a point of using his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works he revealed a sure grasp of idiomatic piano writing and a striking gift for melody.