Treatise (D.M.A.) Florida State University, 2006. / Advisor: Leonard Mastrogiacomo, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-10-07). Document formatted into pages; contains 41 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Joseph DiPiazza; submitted to the School of Music. Includes bibliographical references (p. 126-127).

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed Aug. 22, 2007). PDF text: 422 p. : music, facsim. UMI publication number: AAT 3211384. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (D.M.A.)--Ohio State University, 1985. / Includes vita. Includes bibliographical references (leaves 190-193). Available online via OhioLINK's ETD Center.

Thesis (D.M.A.)--University of Texas at Austin, 2004. / Vita. Includes bibliographical references.

abstract: John La Montaine (b. 1920) has devoted his life to music composition. His major works total 62 opus numbers, including operas, concertos, songs, chamber music, and orchestral works as well as eleven compositions for solo piano. Among his composition teachers were Nadia Boulanger and Howard Hanson, and his first piano concerto was awarded the 1959 Pulitzer Prize for Music. He was active also as a concert soloist and collaborative pianist, appearing on prestigious concert series and with first-rank orchestras. Despite his obvious success, La Montaine did not seek publicity. As a result, the majority of his music is not widely known. La Montaine's eleven compositions for solo piano are written in a wide variety of styles, from tonal to serial, with many based on a tonal center, and they range in difficulty from the easiest beginner pieces to challenging concert works. His elementary works include a set of easy canons and many small pieces written for an early piano method. An imaginative set of children's pieces and a small virtuoso étude challenge the intermediate pianist. A diverse range of works for the advanced pianist includes a serious sonata, a lively toccata, several contrapuntal works, lilting dance pieces, and unique smaller pieces. The recording included with this research project is the first to present La Montaine's complete works for solo piano. The composer's own recordings of many of his works are difficult to obtain, and only a few have been recorded commercially. While some of his works remain in publishers' catalogs, those which are out-of-print can be obtained via interlibrary loan. This recording and discussion of La Montaine's solo piano pieces are intended to make his work better known. / Dissertation/Thesis / 1 Questioning / 2 6 Dance Preludes: Preamble / 3 6 Dance Preludes: Aria / 4 6 Dance Preludes: Burlesque / 5 6 Dance Preludes: For Those Who Mourn / 6 6 Dance Preludes: Intermezzo / 7 6 Dance Preludes: For Those Who Dance / 8 Fuguing Set: Prologue / 9 Fuguing Set: Fugue in G / 10 Fuguing Set: Pastorale / 11 Fuguing Set: Fugue in D / 12 Fuguing Set: Cadenza / 13 Fuguing Set: Fugue in C / 14 Fuguing Set: Epilogue / 15 Jugoslav Dance / 16 Sonata for Piano: I / 17 Sonata for Piano: II / 18 Sonata for Piano: III / 1 Copycats: Have you seen a copycat? / 2 Copycats: Cuckoo / 3 Copycats: Owl / 4 Copycats: Walk and hop / 5 Copycats: October / 6 Copycats: Sing a song and clap your hands / 7 Copycats: Shadow / 8 Copycats: Where has our puppy dog gone? / 9 Copycats: Alarums / 10 Copycats: Hungarian Lullaby / 11 Copycats: Sing no more, it's time to dance / 12 Copycats: Winter song / 13 Copycats: Blackbird / 14 Copycats: Now let us dance / 15 Sparklers / 16 A Child's Picture Book: Pageant / 17 A Child's Picture Book: Story for a Rainy Day / 18 A Child's Picture Book: Pussy Cat has a Dream / 19 A Child's Picture Book: Jack Frost / 20 A Child's Picture Book: The Giant Has A Hobby-Horse / 21 A Child's Picture Book: Even Coolies Watch the Sunset / 22 12 Relationships: Bold and Plain / 23 12 Relationships: Teasing / 24 12 Relationships: Plaintive / 25 12 Relationships: Sprightly / 26 12 Relationships: Bittersweet / 27 12 Relationships: Wayward / 28 12 Relationships: Saucy / 29 12 Relationships: Entreating / 30 12 Relationships: Piquant / 31 12 Relationships: Brooding / 32 12 Relationships: Spirited / 33 12 Relationships: Jubilant / 34 3 Pieces for Piano Solo: Birds / 35 3 Pieces for Piano Solo: A Summer's Day / 36 3 Pieces for Piano Solo: Venice West Blues / 37 Toccata / D.M.A. Music 2010

Thesis (D.M.A.)--Boston University.

Ocean Waves: Nine Preludes for Solo Piano is a collection of preludes that sets ocean waves and sea currents for piano. The preludes range from being minimal and sparse in content, to being melodic and heavy in material. Waves of notes are used to push in and out of new musical ideas throughout the preludes. The work experiments with note density, motivic growth, and multiple pitch centers and harmonic structures all while centering around the musical color of each prelude.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, 2016. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2017-01-16T12:28:44Z No. of bitstreams: 1 2016_HeitorMarquesMarangoni.pdf: 1909822 bytes, checksum: ced8aaa3dac922c010561fc5c8481736 (MD5) / Approved for entry into archive by Patrícia Nunes da Silva(patricia@bce.unb.br) on 2017-02-14T15:06:38Z (GMT) No. of bitstreams: 1 2016_HeitorMarquesMarangoni.pdf: 1909822 bytes, checksum: ced8aaa3dac922c010561fc5c8481736 (MD5) / Made available in DSpace on 2017-02-14T15:06:38Z (GMT). No. of bitstreams: 1 2016_HeitorMarquesMarangoni.pdf: 1909822 bytes, checksum: ced8aaa3dac922c010561fc5c8481736 (MD5) / Importantes pianistas e professores de piano apontam a importância da Prática Mental para o aperfeiçoamento do músico. Apesar de poucas, as pesquisas sobre Prática Mental na performance musical já realizadas apontam que é possível executar músicas após uma sessão de estudo com Prática Mental, entretanto, os resultados são inferiores aos da Prática Física. A pesquisa de Cahn (2008) coloca que esta relação de desempenho depende do nível de dificuldade do estímulo. Segundo as fontes bibliográficas consultadas, todas essas pesquisas foram realizadas com participantes de 16 anos ou mais. O presente trabalho apresentou o ineditismo de investigar os efeitos da Prática Mental em crianças de 6 a 8 anos em 4 estímulos de diferentes níveis de dificuldade. Foi adotado um delineamento Entre-Sujeitos nos grupos Prática Mental versus Prática Física para comparar os acertos de notas. Os resultados indicaram que a Prática Mental foi igual a Física nos estímulos mais fáceis e inferior nos difíceis. O fator que pareceu ter dificultado mais a eficiência da Prática Mental foi a presença de duas vozes simultâneas. Os resultados também mostraram que, como a Prática Física também teve queda nos estímulos difíceis, apesar de menores que os da Prática Mental, e que os participantes que tinham mais experiência acertaram mais, podemos supor que a eficácia da Prática Mental está relacionada com o nível de domínio do indivíduo com a tarefa. / Important pianists and piano teachers point out the importance of Mental Practice for the improvement of the musician. Although few, researchs on Mental Practice in musical performance show that it is possible to play music after a study session with Mental Practice, though their performances are lower than by the physical practice. However Cahn (2008) states that this performance ratio depends on the difficulty level of the stimulus. According to the bibliographical sources consulted, all these studies were conducted with participants of 16 years old or more. This research presented the originality of investigating the effects of mental practice in children aged 6 to 8 years in 4 stimuli of different difficulty levels. It was adopted a between-subjects design comparing the groups Mental Practice versus Physical. Results indicated that mental practice was similar to physical practice for easier stimulus and lower for difficult stimulus. The factor that seems to have hampered the efficiency of mental practice was the presence of two simultaneous voices. The results also showed that, as the Physical Practice also decrease with difficult stimuli, although less than the Mental practice, and that participants who had more experience scored better, we can assume that the effectiveness of mental practice is related to the level of individual domain with the task.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-13Bitstream added on 2014-06-13T19:56:05Z : No. of bitstreams: 1 oliveirajunior_ac_me_ia.pdf: 3987345 bytes, checksum: 01b4f6c25e67ddac60d968c9343c2b1c (MD5) / Esta pesquisa reúne informações específicas sobre o dedilhado pianístico. Através de uma revisão bibliográfica, o trabalho demonstra o surgimento de diferentes abordagens relacionadas a dedilhados durante o desenvolvimento da linguagem musical e dos instrumentos de teclado. Orientações de compositores, instrumentistas e editores-revisores indicam a existência de princípios que determinam a escolha de dedilhados. A revisão bibliográfica, portanto, identifica e classifica tais princípios de acordo com a natureza de sua elaboração. O olhar crítico às fontes selecionadas e analisadas justifica-se nas diretrizes da Nova História, a partir das idéias de Marc Bloch e da Escola dos Annales. Ao final, o trabalho discute a verificação e aplicação dos princípios levantados, em uma proposta interpretativa para o primeiro movimento da Sonata op. 78 de Beethoven / This research brings together specific information about keyboard fingering. Through a bibliographic review, the study reveals the emergence of different approaches related to fingering during de development of musical language and the keyboards instruments. Orientations from composers, pianists and editors indicate the existence of principles determining the choice of fingering. The bibliographic review thus identifies and classifies these principles according to their nature and elaboration. The critical eye on the sources selected and analyzed draws on guidelines from the New History, stemming from ideas put forth by Marc Bloch and the Annales School. Finally, in a performance proposal for the first movement of Beethoven’s Sonata op. 78, the principles identified are applied and verified