This thesis examines the effects of a multi-methodological approach (theory, history, practice) to piano studies. The aim was to see how a deeper and more structured study would improve my piano playing. The study process was based on two specific compositions: Fantaisie-Impromptu, op.post.66 by the Polish composer Fryderyk Chopin and Clair de Lune, from Suite bergamasque by the French composer Claude Debussy. The compositions were executed and recorded in the first part of this project before the academic year 2020/2021, once from the middle part and twice from the final part of the project, spring 2021. Four recordings were done between June 2020 and the final concert in June 2021 and are all uploaded on the same YouTube channel, Pianist Sven. As a result, an improved efficiency and structure during piano practice sessions and when stud- ying theoretical aspects, has been obtained. Musically speaking, I got a better understanding of rhythm and tonality. The practical and theoretical studies carried out has helped me to create a methodological map to applicate in the future and to develop further.During the study of the specific subject, I created two handwritten paper posters. For achieving an increased readability of the thesis, images were uploaded on an own created website, called Chopin-vs-Debussy. I have conducted an interview with pianist and teacher, Giulio Biddau and inserted as part of the thesis (5.1.4) and of the website as well.

Rrowzer! is a piece for solo clarinet composed by Eric P. Mandat in 2005. It was premiered at the Oklahoma Clarinet Symposium on June 17, 2005. The composer has stated that he sought in this piece to immediately capture the audience’s attention through intensity and energy. What makes this work distinct is that the composer gives the performer certain freedoms to experiment by means of choosing how many times to repeat various small segments of music. The performance note in the score implores: “Experiment with a wide variety of repetition lengths – it’s your opportunity to build unique structures.” The following thesis consists of three sections. The introduction and Chapter 1 will explore the influences and inspiration behind the piece, as well as consider biographical background information about the composer. Chapter 2 will provide a musical and structural analysis of the piece, focusing on three main compositional aspects: the organic development of the piece through the transformations of a single pitch-class cell with emphasis on the interval content of that sonority; long-range voice leading and linear connections articulated by adjacent quarter tones; and the relationships of the four climactic moments of the piece with one another.