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by Wong Yat Sze, Yates. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (v. 1, leaves 90-98). / VOLUME 1 / LIST OF APPENDICES --- p.ii / CHAPTER / Chapter I. --- INTRODUCTION --- p.1 / Chapter II. --- A BIOGRAPHICAL SKETCH OF SERGEI PROKOFIEV --- p.5 / Chapter III. --- THE CRITERIA FOR THE USE OF SONATA FORM IN --- p.12 / TRADITIONAL MUSIC AND ITS EXPANDED USE IN THE TWENTIETH-CENTURY / Chapter IV. --- ANALYSIS OF SELECTED FIRST MOVEMENTS IN PROKOFIEV'S WORKS --- p.14 / Chapter 1. --- "Piano Sonata No. 1 in F Minor, Op. 1 (1909)" --- p.15 / Chapter 2. --- "Piano Concerto No. 1 in D-flat Major, Op. 10 (1911-12)" --- p.18 / Chapter 3. --- "Piano Sonata No. 2 in D Minor, Op. 14 (1912)" --- p.19 / Chapter 4. --- "Classical Symphony in D Major, Op. 25 (1916-17)" --- p.22 / Chapter 5. --- "Piano Sonata No. 3 in A Minor, Op. 28 (1917)" --- p.26 / Chapter 6. --- "Symphony No. 2 in D Minor, Op. 40 (1924-25)" --- p.30 / Chapter 7. --- "Symphony No. 3 in C Minor, Op. 44 (1928)" --- p.34 / Chapter 8. --- "String Quartet No. 1 in B Minor, Op. 50 (1930)" --- p.39 / Chapter 9. --- "Violin Concerto No. 2 in G Minor, Op. 63 (1935)" --- p.42 / Chapter 10. --- "Piano Sonata No. 7 in B-flat Major, Op. 83 (1939-42)" --- p.45 / Chapter 11. --- "Piano Sonata No. 8 in B-flat Major, Op. 84 (1939-44)" --- p.48 / Chapter 12. --- "String Quartet No. 2 in F Major, Op. 92 (1941)" --- p.50 / Chapter 13. --- "Flute Sonata in D Major, Op. 94 (1943)" --- p.54 / Chapter 14. --- "Symphony No. 5 in B-flat Major, Op. 100 (1944)" --- p.58 / Chapter 15. --- "Piano Sonata No. 9 in C Major, Op. 103 (1947)" --- p.62 / Chapter 16. --- "Symphony No. 6 in E-flat Minor, Op. 111 (1945-47)" --- p.65 / Chapter V. --- COMPARATIVE ANALYSIS AND CONCLUSION --- p.70 / Chapter VI. --- BIBLIOGRAPHY --- p.90 / VOLUME 2 / APPENDICES --- p.1 / LIST OF APPENDICES / Appendix / Chapter 1. --- Musical Examples --- p.1 / Chapter 2. --- Prokofiev's Works divided by Periods --- p.145 / Chapter 3. --- Prokofiev's Works divided by Genres --- p.154 / Chapter 4. --- Proportion and Developmental Techniques --- p.155 / Chapter 5. --- "Proportions of Beethoven's Nine Symphonies, First Movements" --- p.157 / Chapter 6. --- Key Relationship between the First and Second Themes of the Exposition --- p.158 / Chapter 7. --- Themes and Tonal Schemes --- p.159 / Chapter 8. --- Map of Soviet Union --- p.164

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The purpose of this study was to provide a comprehensive study guide, addressing pedagogical elements to accompany Serge Prokofiev’s Musiques d’Enfants: Twelve Easy Pieces, Op. 65 for solo piano. This study focused on how Prokofiev’s Music for Children, Op.65 prepares students for the composer’s more advanced repertoire using his self-described five compositional “lines” in his autobiography. The study also explored the pedagogical importance of each piece and the best way to prepare students for learning them. Various melodic, rhythmic, and technical exercises were suggested to offer teachers ways to teach fundamental performing principles and to offer students creative exercises and activities to achieve technical fluency. Dynamics, tempo, character, and other stylistic aspects were covered. Chapter one explores the need for the study, definitions of terms, the three time periods of Prokofiev’s compositional output, and the characteristics of his compositional style. Chapter two contains a review of related literature and Prokofiev’s editions. Chapter three includes the method of investigation and discusses Prokofiev’s Music for Children, Op. 65, with teaching and learning suggestions for technical and musical concerns. Chapter four offers a conclusion, implementation of the study, and recommendations for further study. By providing detailed insights into the musical, technical, and interpretive challenges found in Music for Children, Op. 65, the author hopes to provide students and teachers with the background knowledge and practice suggestions needed to understand Prokofiev’s unique musical language and to prepare them for further piano study. / School of Music

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This thesis considers Herman Melville's Moby-Dick as a textual strategy of possible, alternative models of reading, as well as a text in itself. I approach the text as a drama of interpretations and argue that the individual consciousnesses of different interpreters represent different interpretive strategies, and that these differences suggest distinct structures of community. This approach becomes more focussed in the discussion of Ahab and Ishmael as representatives of two contrasting interpretive possibilities, of "reading" the text as a "pasteboard mask" which conceals a stable identity and single "truth," versus "reading" the text of the "defaced" and hence indeterminate surface of changing "meanings." Each strategy implies a different way of conceiving "space" as the "place" where community is formed, and though critics frequently perceive the ending of Moby-Dick as a paradoxical conflict between these two visionary quests, I suggest that Ishmael's survival presents a possible resolution, where Moby Dick becomes the narrative of filling space with many narratives to create the text Moby-Dick.

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No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1978.