Treatise (D.M.A.) Florida State University, 2007. / Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-8-2007). Document formatted into pages; contains 50 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Oct. 10, 2007). PDF text: 86 p. : music. UMI publication number: AAT 3258774. Includes bibliographical references. Also available in microfilm and microfiche formats.

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D. M. A.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 79-81).

abstract: Owen Middleton (b. 1941) enjoys an established and growing reputation as a composer of classical guitar music, but his works for piano are comparatively little known. The close investigation offered here of Middleton's works for piano reveals the same impressive craftsmanship, compelling character, and innovative spirit found in his works for guitar. Indeed, the only significant thing Middleton's piano music currently lacks is the well-deserved attention of professional players and a wider audience. Middleton's piano music needs to be heard, not just discussed, so one of this document's purposes is to provide a recorded sample of his piano works. While the overall repertoire for solo piano is vast, and new works become established in that repertoire with increasing difficulty, Middleton's piano works have a significant potential to find their way into the concert hall as well as the private teaching studio. His solo piano music is highly effective, well suited to the instrument, and, perhaps most importantly, fresh sounding and truly original. His pedagogical works are of equal value. Middleton's piano music offers something for everyone: there one finds daring virtuosity, effusions of passion, intellectual force, colorful imagery, poetry, humor, and even a degree of idiomatic innovation. This study aims to reveal key aspects of the composer's musical style, especially his style of piano writing, and to provide pianists with helpful analytical, technical, and interpretive insights. These descriptions of the music are supported with recorded examples, selected from the works for solo piano written between 1962 and 1993: Sonata for Piano, Childhood Scenes, Katie's Collection, and Toccata for Piano. The complete scores of the recorded works are included in the appendix. A chapter briefly describing the piano pieces since 1993 concludes the study and invites the reader to further investigations of this unique and important body of work. / Dissertation/Thesis / D.M.A. Music 2011

abstract: Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience. / Dissertation/Thesis / D.M.A. Music 2011

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-graduação em Música, 2015. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-06-07T16:37:58Z No. of bitstreams: 1 2015_LisetteJungLoiola.pdf: 1862981 bytes, checksum: 96fed82ad624e15d76ede450f47d7c7f (MD5) / Approved for entry into archive by Ruthléa Nascimento(ruthleanascimento@bce.unb.br) on 2016-10-03T21:02:53Z (GMT) No. of bitstreams: 1 2015_LisetteJungLoiola.pdf: 1862981 bytes, checksum: 96fed82ad624e15d76ede450f47d7c7f (MD5) / Made available in DSpace on 2016-10-03T21:02:53Z (GMT). No. of bitstreams: 1 2015_LisetteJungLoiola.pdf: 1862981 bytes, checksum: 96fed82ad624e15d76ede450f47d7c7f (MD5) / A docência em música é uma atividade de interações humanas, permeada por significações, valores, princípios, ideias, crenças, concepções e pensamentos construídos nas interações sociais dos agentes envolvidos nesse processo pedagógico. É na interação social que professores e alunos constroem suas representações sobre o mundo e tornam-se transmissores dessas representações em meio às inter-relações sociais vividas no dia a dia. As representações sociais sobre o que é ser professor de música e professor de instrumento musical, são construídas no contexto de ensino e aprendizagem de música, iniciando ainda no tempo de estudante, quando este constrói em sua mente a imagem do professor de música, a partir das interações com os seus professores. Ao tornar-se professor, ele agirá guiado pelas suas representações sociais do que é ser professor de música. Este trabalho teve como objetivo compreender as representações sociais sobre a docência no instrumento dos professores de piano de escolas de música “livres” em Taguatinga-DF. O objetivo central foi desdobrado em três objetivos específicos: 1) identificar o conjunto de valores, crenças, imagens, pensamentos, princípios, ideias e concepções dos professores sobre a docência do piano; 2) investigar como essas representações sociais configuram suas imagens e referências de professor de piano; 3) relacionar as representações sociais com a trajetória e com o contexto de atuação docente desses professores. O estudo tem como fundamentos teóricos a Teoria das Representações Sociais de Moscovici (2012), o conceito de Trabalho Docente Interativo de Tardif e Lessard (2013) e os princípios filosóficos para o ensino de música de Jorgensen (2008). Os sujeitos do estudo são os professores de piano de escolas de música particulares de Taguatinga, identificadas como “livres” pelas suas características de escolas privadas, com autogestão administrativa e curricular. A metodologia da pesquisa foi orientada pela Teoria das Representações Sociais (MOSCOVICI, 2012). A coleta de dados foi realizada por meio da entrevista semidiretiva (RUQUOY, 1997), escolhida pela necessidade de ouvir os sujeitos da pesquisa. Os dados foram analisados pelo método da Análise de Conteúdo, utilizando a ferramenta de Análise Categorial Temática (BARDIN, 1977) na interpretação dos dados das entrevistas, pela abordagem qualitativa dos dados. A interpretação do corpus das entrevistas revelou representações sociais dos professores apresentadas em “imagens de professor”; princípios pedagógicos e crenças; concepções sobre música, sobre o ensino de música e sobre os fins do ensino de piano; pensamentos sobre saberes e habilidades para o ensino de piano; ideias e concepções sobre o estudo do piano, sobre os alunos e sobre as aulas. As representações sociais dos professores se apresentam no conjunto desses pensamentos dos professores sobre o trabalho docente no piano. A investigação das representações sociais dos professores de piano em Taguatinga-DF demonstrou que os procedimentos, princípios, valores e objetivos que constituem as representações coletivas da instituição e o agrupamento de professores que compartilham das mesmas representações caracterizam a validação e reprodução de representações sociais em cada uma das escolas pesquisadas. Todavia, as representações sociais dos professores não se apresentaram homogêneas, permitindo a circulação de novas representações sobre a docência no piano permitindo a possível transformação de representações antigas em novas representações, na dinâmica das relações sociais. / Music teaching is an activity of human interactions, permeated by meanings, values, principles, ideas, beliefs, conceptions and thoughts built on the social interactions of the agents involved in the educational process. Teachers and students construct their representations of the world in social interaction and become transmitters of these representations in the midst of lived social interrelationships in everyday life. Social representations about what is to be a music teacher and of musical instrument are built in the context of teaching and learning music, starting even in student days, when he builds in his mind the image of the music teacher from interactions with their teachers. By becoming a teacher, he will act guided by their social representations of being a music teacher. This study aimed to understand the social representations about teaching the instrument of piano teachers from "free" music schools in Taguatinga-DF. The main objective was broken down into three specific objectives: 1) Identify the set of values, beliefs, images, thoughts, principles, ideas and conceptions of the teachers on teaching the piano; 2) Investigate how than social representations shape their images and references from piano teachers; 3) Relate the social representations with the history and the context of teaching of these teachers. The study has the theoretical foundations of the Theory of Social Representations of Moscovici (2012), the concept of Work of Teaching Interactive of Tardif and Lessard (2013) and philosophical principles for music education from Jorgensen (2008). The study subjects are piano teachers of private music schools in Taguatinga, identified as "free" by their features of private schools with self-administrative and curricular. The research methodology was guided by the Theory of Social Representations (MOSCOVICI, 2012). Data collection was performed by semi directive interview (RUQUOY, 1997), chosen by the need to listen to the subjects. Data were analyzed by the method of Content Analysis using the Analysis Categorical Thematic (BARDIN, 1977) in the interpretation of data from the interviews, a qualitative approach. The interpretation of the corpus revealed social representations of the teachers in "images of teacher"; pedagogical principles and beliefs; conceptions about music, about music education and for the purposes of piano teaching; thoughts on knowledge and skills to the piano teaching; ideas and conceptions on the study of piano, on the students and on the classes. The social representations of the teachers are present in all of these teachers' thoughts about the teaching work at the piano. The research of social representations of piano teachers in Taguatinga-DF demonstrated that the procedures, principles, values and goals that constitute the collective representations of the institution and the group of teachers who share the same representations characterize the validation and reproduction of social representations in each one of the schools surveyed. However, the social representations of teachers do not show homogeneous, allowing the circulation of new representations about teaching the piano allowing the possible transformation of old representations in new representations in the dynamics of social relations.

This thesis focuses on the relationship between piano performance and Schenkerian analysis. Schenkerian analysis was designed initially as a practical guide for performers. In the different levels of a Schenkerian graph, we can see “musical forces” which lead the performer to deeply understand music itself. Using Schenkerian notation to highlight certain notes helps us to recognize lines behind the surface of the music that give certain passages coherence. This study concentrates on Chopin’s mastery of counterpoint and voice leading which leads me into the relationship of analysis and performance, typically by using the Schenkerian method. My examples will include a variety of pieces by both Chopin and Mozart, to show in what ways the Schenkerian analysis both highlights similarities and makes distinctions between composers and genres.

This dissertation presents an examination of the evolution of compositional style of Verdina Shlonsky, based on the analysis of selected piano compositions written in different periods of her life. The work examines the issues of defining Shlonsky’s style with regard to her philosophy, expressed in her numerous essays, concerning with the centrality of content. The central question of the evolution of Verdina Shlonsky’s style is addressed by identifying and listing its key characteristics, and tracing them in the three analyzed compositions, representing three different stages of her life. Shlonsky’s biography is compiled with a special focus on her musical development, and musical and non-musical influences to which she was exposed. Detailed formal and motivic analyses of the selected piano works uncover the formative elements of Shlonsky’s style. Each detailed analysis includes key information on the background of the composition, followed by performance guides addressing performance issues, and editorial sections comparing the Israel Music Institute (IMI) printed editions with the manuscripts. Based on Shlonsky’s written statements, describing her compositional esthetics, and on the analyses of the selected works, my dissertation posits that Shlonsky’s music is polystylistic, deliberately using of a variety of styles as expressive tools, and as ways to create continuity of tradition through dialogue with other composers from the past and present. My analyses also suggest that Shlonsky’s piano music from different periods share similar characteristics of style, presented in different proportions and contexts. The main purposes of this dissertation are to define Shlonsky’s compositional style and its evolution; to help performers to approach this unknown repertoire; to assist scholars in future research of Shlonsky’s legacy; and to disseminate knowledge about Verdina Shlonsky’s life and music to a wider audience.

Thesis (M.M.)--Boston University. Missing page 28 in numbering only.