Diss.--Zürich, 1994. / Bibliogr. p. 167-177.

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by 4 recitals, recorded Apr. 10, 2000, Mar. 11, 2002, Nov. 24, 2003, and July 5, 2004. Includes bibliographical references and discography (p. 34-37).

Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 150-152).

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains x, 71 p. : music. Includes bibliographical references.

The aim of my graduated work is the enter into problem of studies contemporary composition at the background of development music of the second half of 20th century. The work is aimed at the composition of Luciano Berio Sequenza XII. Bassoonists, who would like to study this work or studying it now, I can help them according to my practising experiences up to now and convince them how to win this "fight"

This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations.

This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations. / Arts, Faculty of / Music, School of / Graduate

Ho Kar Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 123-127). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The First Movement: the Mythologiques --- p.11 / Chapter Chapter 3 --- The Second Movement: “O King´ح --- p.27 / Chapter Chapter 4 --- The Third Movement: the Scherzo --- p.54 / Chapter Chapter 5 --- The Fourth Movement: “Rose de sang´ح --- p.84 / Chapter Chapter 6 --- The Fifth Movement: a Synthesis --- p.96 / Chapter Chapter 7 --- Conclusion --- p.110 / Appendix I Luciano Berio's Compositions from 1958 to1968 --- p.116 / "Appendix II The Poem ""Des Antonius von Padua Fischpredigt"" and its English Translation" --- p.118 / Appendix III Integral Texts Applied in the Fifth Movement --- p.120 / Bibliography --- p.123

Diss.--Hamburg, 2001. / Bibliogr. p. 299-310.

Thesis (D.M.A.)--University of California, San Diego, 2001. / Vita. Includes reproduction of Ferneyhough's score of Cassandra's dream song as Appendix C. Includes bibliographical references (leaves 84-85).