Thesis--State University of New York at Buffalo, 2006. / Computer printout. List of Ginastera's numbered compositions: leaves 135-136. Includes bibliographical references (leaves 146-150), and examples (leaves 151-256).

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains vii, 71 p. : music. Includes bibliographical references.

Thesis (Ph. D)--University of Rochester, 2009. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11067

This study addresses the ways and means a conductor may approach two major twentieth century works written specifically for percussion ensemble. Performance techniques and decisions on aesthetics made by the conductor in dealing with such items as timbre, balance, pitch levels, and pitch relationships are also considered.

When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit "invariance under a transformation."

Thesis--Indiana University, 2006. / Computer printout. "While the present study will focus specifically on the evolution of tonality in Ginastera's compositional style, I begin by surveying the small body of general scholarship pertinent to Ginastera, starting with his own published comments. This critical survey serves two purposes: it provides a general overview of the scholarship to date regarding Ginastera; and it demonstrates the shortcomings of that scholarship in relation to the study of tonality's evolution in Ginastera's music--hence the rationale for the present study."--Leaves 1-2. Includes bibliographical references (leaves 269-284), abstract, and vita.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-26T21:11:19Z No. of bitstreams: 1 MariaVeronicaFernandez_DISSERT.pdf: 2346087 bytes, checksum: 1c989b753abbebd26a9cfbdd8d9413f0 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-29T23:05:25Z (GMT) No. of bitstreams: 1 MariaVeronicaFernandez_DISSERT.pdf: 2346087 bytes, checksum: 1c989b753abbebd26a9cfbdd8d9413f0 (MD5) / Made available in DSpace on 2016-04-29T23:05:25Z (GMT). No. of bitstreams: 1 MariaVeronicaFernandez_DISSERT.pdf: 2346087 bytes, checksum: 1c989b753abbebd26a9cfbdd8d9413f0 (MD5) Previous issue date: 2015-06-12 / Esta pesquisa examina os elementos estil?sticos provenientes da m?sica folcl?rica da Regi?o da Puna, encontrados na Pune?a N?. 2, Op. 45 para Violoncelo Solo de Alberto Ginastera, com o objetivo de embasar violoncelistas interessados no seu estudo e na sua performance. Como procedimento metodol?gico, foram estudados autores como Aretz (2003, 2008), Aguilar (2007) e Fal? (2011), com o intuito de melhor compreender a m?sica folcl?rica da Regi?o da Puna e das culturas pr?-hisp?nicas, e Su?rez Urtubey (1967, 1972, 2003), que discorre sobre a vida e obra do compositor. A partir do levantamento bibliogr?fico, foram expostos ideias e conceitos que auxiliam o int?rprete a decodificar aspectos relevantes da obra. / This research sheds light on the stylistic elements originated from the region of Puna found in the Pune?a N?. 2, Op. 45 by Alberto Ginastera for Solo Cello in order to supply cellists with the background needed for the interpretation of the piece. As a methodological procedure authors such as Aretz (2003, 2008), Aguilar (2007) and Fal? (2011), Su?rez Urtubey (1967, 1972, 2003) were studied with the goal of better understanding the folk music of the Puna Region and the life and work of Ginastera. From the bibliographical research suggestions were drawn for the cellist interested in the performance and study of the work.

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The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modifications of the guitar chord. Chapter VI explores the use of the guitar chord as a referential sonority based on Variaciones Concertantes, Op. 23: I-II, examining vertical (subsets) and horizontal (derivation of motives) aspects. Chapter VII explores uses of trichords and hexachords derived from the guitar chord in the Sonata for Guitar Op. 47.