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.

Abstract: Alberto Ginastera is considered one of the most important composers in Argentina. His music reflects the ancient aboriginal primitivism and the nationalistic spirit of Argentine traditional music. Strong rhythm has played a significant role in his music. According to Ginastera¡¦s own criteria, his works can be divided into three periods, but only the first two periods are related to nationalistic music. The first period is called ¡§objective nationalism¡¨ (1937-1947), where folk elements are used directly in the works. The second period, called ¡§subjective nationalism¡¨ (1948-1953), is characterized by sublimated musical language. Ginastera uses new rhythmic and melodic materials that symbolize Argentine music. This thesis has four chapters besides the introduction. The time discussed in this thesis is until 1952, including Ginastera¡¦s early piano music up to his First Piano Sonata. All these compositions have the influence of the folk idiom of Argentina. The first chapter is a discussion of historical background, including the development and growth of art music in Argentine society and Ginastera¡¦s life as a composer. The second chapter focuses on the importance of the gaucho as a symbolic heritage of the indigenous folk music in Argentina and on how their music, such as malambo, gato, zamba, triste, vidala, and milonga were manifested in Ginastera¡¦s piano music. The third chapter studies Ginastera¡¦s compositional techniques and styles, including his treatment of form, phrasing, melody, harmony and tonality. This is followed by a comprehensive conclusion. Although Ginastera was not a prolific composer for the piano, his genius and creativity is shown by his outstanding skills in manipulating folkloric materials in his piano music. Ginastera¡¦s music has achieved widespread recognition and has also made a great contribution to the twentieth-century Latin-American music.

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

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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.

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.

This essay is a musicological, analytical, and performance practice investigation of Variazioni e Toccata sopra “Aurora lucis rutilat,” op. 52 by Alberto Ginastera. Commissioned by and written for the Twin Cities Chapter of the American Guild of Organists, this piece was premiered during the National Convention of the AGO on June 18th, 1980 in Minneapolis, Minnesota, by the renowned American organist and pedagogue Marilyn Mason. Mason championed the composition for years on the concert platform, but the composition suffered neglect both by performers and scholars alike. Today, there exists not a single comprehensive study on this work, and only two recordings available. This essay seeks to clarify the composition by addressing 1) the relation between manuscript sources, the correspondence between composer and performer during and after the compositional process, recordings, and 2) by analyzing the form of the piece, by investigating its melodic relationship to the Gregorian tune, as well as by providing an examination of the text and its connection to medieval sources. I will devote a chapter to Ginastera’s biographical background, a review of the current scholarship, as well as a chapter devoted to the analysis of each single variation, thematic placement, and an overview of the harmonic relationship of endings.

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