Master of Music in Violin / Arts, Faculty of / Music, School of / Includes 2 sound cassettes / Graduate

[No abstract.] / Arts, Faculty of / Music, School of / 2 sound cassettes. Trombone. / Graduate

[No Abstract Available] / Arts, Faculty of / Music, School of / Accompanied by two cassettes / Graduate

[No abstract] / Arts, Faculty of / Music, School of / Two tapes / Graduate

[No abstract] / Arts, Faculty of / Music, School of / 1 sound cassette and 1 compact disc / Graduate

This study was conducted to ascertain and report attitudes of faculty-artist piano teachers at NASM-accredited music units with graduate programs concerning the diverse aspects of designing graduate student and artist piano recitals. A second objective was to compare and contrast the principles which govern program-building practices of graduate and artist piano recitals.The study consists of five chapters. Chapter 1 presents background information and the purpose, delimitations, and significance of the study. Chapter 2, a review of related literature, reveals that discontent toward program-building practices began as early as the middle of this century.Chapter 3 delineates the methods and procedures employed to collect the data. Responses collected from the questionnaire are reported in Chapter 4. Four recital types--graduate recitals, faculty-artist recitals, artist recitals in major cultural centers, and artist recitals in outlying areas are examined in terms of program length, format, content, and balance. Chapter 5 provides a summary of the study as well as comparisons and conclusions.It was found that graduate student and artist recitals enjoy few program-design commonalities. Analysis of the data revealed that only four commonalities were shared by all four recital groups: 1) Consider the respective moods of the repertory "Almost Always" or "Often" when determining the construction of a program, 2) a program's format should be chronological "Sometimes," 3) the "First Half" of a recital should be longest, and 4) lengthy works may be placed in "Both Halves" of a program.Respondents gave "Performer's Security" top priority when selecting the opening work for all recital types. Four criteria considered very important when selecting closing works were: 1) Mood, 2) Intensity, 3) Effectiveness, and 4) Performer's Security.Challenging the notion that there is one correct way to design a recital, participants offered a variety of strategies and formats. Finally, lists of suggested opening and closing works, works generally considered difficult for audiences and works composed post-1950 which have found favor with audiences are appended to the study. / School of Music

The encore piece for piano is viewed both as an historical study and an investigation of current programing trends. Data from the New York Times, music reviews and questionnaires completed by distinguished American pianists provided information that was compiled and charted.A study of the years 1920 through 1990 showed a discernible move away from extended encore segments, with a shift toward a single encore offering. Spontaneous rushing of the stage by theaudience and demanded immediate re-hearings of works faded shortly after 1940.Questionnaires revealed present-day artists are most influenced by length and character of the work, as well as the ending program piece in selecting encores. Two additional influences are the desire for contrast in succeeding encores and spontaneity in encore choice. Questionnaire answers reaffirmed that fewer encores are given in the 1990's; also noted were the facts of encores becoming shorter, more substantial, and less virtuosic. An inclusion of lesser-known works from the twentieth century was indicated.Research indicates that selecting the appropriate encore is both an art and a science. The importance of the intuitive art of judging audience response and spontaneity of encore choice is matched only by the role of the analytical in studying past successful encore models and programing an effective encore sequence. A successful encore is determined as much by what precedes and follows its performance as by its own character. / School of Music

Thesis (D.M.A.--Music)--University of California, San Diego, 2000. / Vita. Sound tape reels consist of performances on April 14, 2000 at the Center for Research and Computing in the Arts at the University of California, San Diego. "This dissertation is concerned with the role of the performer in new Western Art Music, specifically in relation to choosing repertoire and formulating these ideas into the public concert setting."--P. vii.

George Enescu (1881-1955) is known primarily today in conjunction with the world of violin playing. Celebrated as a violin virtuoso throughout the capitals of Europe and North America in the first half of this century, and later admired as a teacher of luminary talents such as Yehudi Menuhin, Arthur Grumiaux, and Ida Haendel, Enescu exerted a considerable influence on the developments of the international music scene. This was nowhere more apparent than in Paris and Bucharest, cities in which Enescu spent most of his life active as performer, conductor, and composer. As his career progressed, Enescu dedicated an increasing amount of time and energy to composition, producing an impressive list of works, many of which were of monumental proportions. Contemporary with Bartok and Kodály, Enescu found himself caught in the current of nationalism that asserted itself in Europe during the first decades of the twentieth century. Seeking a personal, expressive idiom in which he could fuse the musical elements of both Western tradition and his native Rumanian folk heritage, Enescu experimented with diverse compositional trends and styles. Expanding the reaches of tonality with heightened chromaticism, in which microtonal as well as modal inflections were both to play significant roles, Enescu’s idiom evolved into a highly plastic language, comprising a great variety of stylistic characteristics. In order to assimilate the heterogeneous elements into one unified expression, Enescu relied on traditional compositional techniques such as sonata form, cyclic thematic structure, and motivic development. The focus of this paper is to examine to what extent these compositional techniques are incorporated into his work and to direct attention to those elements, i.e., both structural and non-structural, that were most distinctive of Enescu’s musical style. Owing to its concentration of key stylistic elements and its stature as perhaps the most accomplished piano composition in Enescu’s output, the Sonata for Piano in D Major, Op. 24, No. 3 (1934) will serve as model for this analytical study. Chapter One provides by way of an introduction a brief overview of the formative years in Enescu’s life and defines the position of the Sonata within the complete ceuvre. Chapters Two, Three, and Four constitute the main body of the paper and contain analyses of each of the Sonata’s three movements. In these chapters discussion revolves around the more significant structural features of the work such as the overall cyclic design, simultaneously examining the methods Enescu employs to integrate folk inflection throughout the Sonata. Chapter Five comprises the summary. The most significant features of the Sonata are recapitulated and parallels to numerous other works are drawn, in an attempt to present the Sonata as a culmination of Enescu’s compositional style.

George Enescu (1881-1955) is known primarily today in conjunction with the world of violin playing. Celebrated as a violin virtuoso throughout the capitals of Europe and North America in the first half of this century, and later admired as a teacher of luminary talents such as Yehudi Menuhin, Arthur Grumiaux, and Ida Haendel, Enescu exerted a considerable influence on the developments of the international music scene. This was nowhere more apparent than in Paris and Bucharest, cities in which Enescu spent most of his life active as performer, conductor, and composer. As his career progressed, Enescu dedicated an increasing amount of time and energy to composition, producing an impressive list of works, many of which were of monumental proportions. Contemporary with Bartok and Kodály, Enescu found himself caught in the current of nationalism that asserted itself in Europe during the first decades of the twentieth century. Seeking a personal, expressive idiom in which he could fuse the musical elements of both Western tradition and his native Rumanian folk heritage, Enescu experimented with diverse compositional trends and styles. Expanding the reaches of tonality with heightened chromaticism, in which microtonal as well as modal inflections were both to play significant roles, Enescu’s idiom evolved into a highly plastic language, comprising a great variety of stylistic characteristics. In order to assimilate the heterogeneous elements into one unified expression, Enescu relied on traditional compositional techniques such as sonata form, cyclic thematic structure, and motivic development. The focus of this paper is to examine to what extent these compositional techniques are incorporated into his work and to direct attention to those elements, i.e., both structural and non-structural, that were most distinctive of Enescu’s musical style. Owing to its concentration of key stylistic elements and its stature as perhaps the most accomplished piano composition in Enescu’s output, the Sonata for Piano in D Major, Op. 24, No. 3 (1934) will serve as model for this analytical study. Chapter One provides by way of an introduction a brief overview of the formative years in Enescu’s life and defines the position of the Sonata within the complete ceuvre. Chapters Two, Three, and Four constitute the main body of the paper and contain analyses of each of the Sonata’s three movements. In these chapters discussion revolves around the more significant structural features of the work such as the overall cyclic design, simultaneously examining the methods Enescu employs to integrate folk inflection throughout the Sonata. Chapter Five comprises the summary. The most significant features of the Sonata are recapitulated and parallels to numerous other works are drawn, in an attempt to present the Sonata as a culmination of Enescu’s compositional style. / Arts, Faculty of / Music, School of / Graduate