Thesis (doctoral)--Bonn. / Includes bibliographical references (p. 364-377).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2010. / Title from PDF t.p. (viewed Jul. 13, 2010). Directed by Welborn Young; submitted to the School of Music. Includes bibliographical references (p. 168-176).

Thesis (Ph. D.)--Department of Music, Stanford University, 2008. / Includes bibliographical references (leaves 206-212).

No description available.

Thesis (M.M.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

<p>Final Concert: Monday 6 may 2019 in Nathan Milstensalen (KMH, Stockholm)</p><p>Program: </p><p>J. Brahms-  Trio op. 114 in A minor for clarinet, cello and piano</p><p>Leonardo Zoncati- clarinet</p><p>Filip Lundberg - cello</p><p>Francesco Fermati - Piano</p><p></p><p>Donato Lovreglio - Fantasia on the themes of Giuseppe Verdi's traviata </p><p>Leonardo Zoncati - clarinet </p><p>Erik Lanninger - Piano</p><p></p><p>A. Ponchielli - Convegno for 2 clarinets and piano </p><p>Leonardo Zoncati, Michele Carrara - clarinets</p><p>Erik Lanninger - Piano</p>

Zugl.: Münster (Westfalen), Univ., Diss., 2008

Thesis (D.M.A.)--University of Rochester, 1968. / Typescript. Vita. Bibliography: leaves 201-209. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/2526

Thesis (D.M.A.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 117-119) and discography (leaf 120).

In recent years, Brahms’s music has begun to occupy a larger role in the consciousness of musicologists, and with this surge of interest came a refreshingly original approach to his music. Although the First Piano Concerto op. 15 of Johannes Brahms is a beloved part of the standard piano repertoire, there is a curious under-representation of the work through the lens of historical performance practice. This monograph addresses the various aspects that comprise a thorough performance practice analysis of the concerto. These include pedaling, articulation, phrasing, and questions of tempo, an element that takes on greater importance beyond just complicating matters technically. These elements are then put into the context of Brahms’s own pianism, conducting, teaching, and musicological endeavors based on first and second-hand accounts of the composer’s work. It is the combining of these concepts that serves to illuminate the concerto in a far more detailed fashion, and ultimately enabling us to re-evaluate whether the time honored modern interpretations of the work fall within the boundaries that Brahms himself would have considered effective and accurate. / Music Performance