The purpose of this study was to investigate the kinetic structures or reinforcement schedules of metric temporal patterns (metric combination of note values within a measure) in five best-selling beginning piano method series. Based upon a survey mailed to 98 music dealers, the five best-selling beginning piano method series in 1992 and 1993 were identified as: the Alfred Basic Piano Library, Bastien Piano Basics, David Carr Glover Piano Library, John. W. Schaum Piano Course, and John Thompson Modern Course for Piano. A coding system was developed for identifying the numerical appearances and occurrences of various metric temporal patterns per learning piece within each method series. Several computer programs were written to compute the kinetic structures, scope, and pacing of metric temporal patterns for each method series. The derived data were then compared to delineate relationships between the three analytical variables.

The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.

There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.

Com a elaboração deste trabalho pretende-se demonstrar o ressurgimento da suíte em meados do século XIX e posterior aplicação no inicio do século XX, a partir da suíte para cravo do século XVIII. Procurou-se verificar a influência formal e estilística do gênero barroco nas escolas posteriores, além do papel fundamental da suíte revisitada, como peças referenciais no repertório pianístico. Contextualização histórica e sócio-cultural da forma e do estilo em questão, bem como, da importância desse gênero para o repertório romântico e suas influencias nas escolas posteriores. Comparação formal e estilística entre a suíte barroca e a suíte da segunda metade do século XIX e inicio do século XX e, ainda, análise com finalidade ilustrativa de obras do gênero. A suíte da segunda metade do século XIX e inicio do século XX teve papel fundamental no rompimento, por parte dos compositores das escolas nacionalistas, com os paradigmas da música alemã do período em questão. / With the development of this work is intended to demonstrate the resurgence of the suite in mid-nineteenth century and subsequent implementation at the beginning of the twentieth century, from the suite for harpsichord of the eighteenth century. Tried to verify the formal and stylistic influence of gender in baroque schools later, and the role of the suite revisited, as reference pieces in the pianist repertoire. Historical background and socio-cultural fashion and style in question, as well as the importance in this kind for the Romantic repertoire and their influences in schools later. Formal and stylistic comparison between the Baroque suite and the suite of the second half of the nineteenth and early twentieth century, and also illustrative analysis with works of the genre. The suite of the second half of the nineteenth and early twentieth century played a key role in the disruption, by the nationalist composers, with the paradigms in German music.

Orientador: Dorotéa Machado Kerr / Banca: Heloísa Helena Fortes Zani / Banca: Giacomo Bartoloni / Resumo: Essa pesquisa é uma proposta de reflexão sobre a obra para piano solo do compositor paulista Nilson Lombardi. Em termos gerais, atenta para as principais tipificações de sua escrita musical, especialmente o caráter miniatural. Para tanto, estrutura-se em três partes: O compositor e a obra é um estudo que realiza um delineamento biográfico do compositor, percorrendo diferentes períodos da formação e reconhecendo eventos que atuaram no seu desenvolvimento artístico. Intenciona disponibilizar o contexto histórico-estético de sua produção; A miniatura musical, conceito e histórico busca a designação (e conceitualização) de termo miniatura na historiografia da música ocidental, localizando-o especialmente no período romântico - onde demonstra firmar-se enquanto gênero musical definido; A miniatura em Nilson Lombardi é a parte do estudo que verifica os recursos composicionais empregados na elaboração dessas obras. Desenvolve uma metodologia de análise que considera os conceitos levantados na seção anterior do trabalho e, concomitantemente com as premissas descritas pelo autor, realiza uma investigação que configura o termo miniatura na obra para piano do compositor. / Abstract: The present research proposes a reflection regarding the piano solo works of the paulista composer Nilson Lombardi. In general terms, it deals with the main characteristics of his musical writing, with especial attention to its miniatural character. In order to achieve that, this work is divided into three parts. Composer and his works is a study about Lombardi's biography, including different moments of his formation and recognizing events that had taken a place in his production. the second part, Musical miniature, its concept and its history aims to describe and to concept the term miniature throughout occidental music historiography, but specially dating it into the romantic period, when it seems to had been strongly established as a defined musical genre. And Miniature in Nilson Lombardi is the research part that verifies compositional resources used in his works, trough an analysis methodology that uses the concepts from the previous sections: concomitant with author's described premises, it realizes an investigation that configures and characterizes the term miniature into the piano works of Nilson Lombardi. / Mestre

Title from accompanying document. / Mary Lyndal Nyberg, violin; S.E. Royall, piano. / Digitized by Kansas Correctional Industries

abstract: As with many concertante, Fantasy focuses on the interplay between the soloist and the orchestra. Contrast is a fundamental principle for creating the formal design of the composition. Adjacent sections are related to one another by the contrast of any or all of the following: register, timbre, and texture. Fantasy derives inspiration from the musical languages of Stravinsky, Prokofiev, Shostakovich, Moravec, and Debussy. / Dissertation/Thesis / Doctoral Dissertation Music 2018

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Pianists have often noted differences in fingering among several editions of a given piano work. Numerous reasons could be cited for this phenomenon including variations in the sizes and shapes of hands, and differences in technical abilities and interpretations, factors which tend to suggest the importance of individual needs and preferences in fingering. The purpose of this study was to formulate an approach to fingering which would be adaptable to individual requirements and at the same time be applicable to all styles of piano writing. The system was designed in such a way that all practical solutions to a given passage could be found. An element common to all piano literature upon which the system could be based was chosen--the interval as realized by the fingers on the keyboard.The impetus for this study was provided by portions of L'Enseignement musical de la technique du piano (The Musical Teaching of Piano Technique), by Blanche Selva. In this work the author dealt with technical studies practiced by empreinte or "imprint" as it may be translated into English. Imprint was used to denote the spacing of the fingers as they correspond to and accommodate themselves to the intervals on the keyboard. Also included in the concept were the differences in contact points of the fingers as they touch the keys. Whereas Selva chose a fingering to produce an imprint, this study used imprint to find alternative fingering possibilities for musical passages.The study contains an historical survey of fingering which places the subject of fingering in an historical framework wherein the development of modern concepts can be seen as they emerged in the literature. A review of literature, in which the writer critically surveyed some forty-five sources from music periodicals and books in English of the twentieth century, set forth the contributions made by writers in recent times and at the same time demonstrated the need for a more systematic approach which could be adapted to the needs of the individual pianist. No sources were found which provided a system for finding alternative fingerings. However, several valuable concepts did emerge which approach the imprint idea, such as the grouping and blocking of notes in passages.The major contribution of the study was the adaptation of Blanche Selva's imprint analysis to a system of fingering piano music. Translations were made of key portions of L'Enseignement musical de la technique du piano which were extracted and adapted to fingering. In order tooffer a means of finding many alternative fingering solutions to fingering problems a mathematical system of grouping imprints according to the number of notes in the passage was used. Fingerings were thus determined by (1) the fit of the pianist's fingers to the passage and (2) the mathematical possibilities which are compatible with the fit of the hand to the keyboard. All of the concepts presented were illustrated with musical examples from the standard piano literature.The writer concluded that the study provided a useful approach to fingering for the following reasons: (1) the procedure for using imprint analysis provides a means for finding fingerings suitable to all pianists because the choice is left to the needs of the individual; (2) the system is based only upon the conformation of the hand to keyboard intervals; (3) it is not limited to a specific type of passage or style of writing; (4) the approach incorporates both grouping and blocking which many teachers believe helpful for security of learning and memorizing; (5) it can be as systematic and comprehensive as needed for difficult passages because of the use of mathematical groupings; (6) the naturalness of hand position which is a part of the imprint concept in many cases minimizes the need for rigorous searching.