This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook. / <p>The exam concert is archived for copyright reasons until 2023.</p>

Cristóbal Halffter, born in 1930, established himself as an important figure in Spanish avant-garde composition in the middle of the twentieth-century. As one of the prominent leaders of the Generación del 51, he helped establish modernity in music as a part of Spain's identity. His compositional style mixing tradition with the avant-garde was built on the success and breakthrough of Manuel de Falla, a composer with close ties to Halffter's family and served as a 'father figure' to the Generación del 51. This study begins with a discussion on Falla's work and reception, as he lay the groundwork for modernism in Spanish music. Further, discussion on Halffter's background and compositional periods, from his nationalist approach in the 1950s to his embrace of the avant-garde in the 1960s and beyond exemplifies Halffter's prominent role in shaping Spanish modernity. This research then sheds light on previously unexplored solo flute works Debla [Solo VI] for Flute and Studie II [Solo III] for Flute by Halffter. Provided is insight to their respective influences (the Spanish debla and the Fibonacci sequence), analysis of each work, and a discussion on their similarities and differences. By taking an informative approach prior to analysis and performance suggestions, readers will gain insight to Halffter's Spanish roots as they relate to nationalism and the avant-garde, his affiliation with the Generación del 51, and his compositional style.

This survey presents a transcription for horn and piano of Siete Canciones populares Españolas (Seven Popular Spanish Songs) by Manuel de Falla (1876-1946). Siete Canciones populares was written originally for voice and piano and previous transcriptions with different instrumentation have been published after the original work. In order to provide a faithful representation in my version, my study explores three main subjects: the style of Manuel de Falla; the significance of Siete Canciones; and the composer's horn writing in his orchestral work The Three-Cornered Hat. The solo horn repertoire originates in the central European countries and remains a product of their traditions until the second half of the twentieth century, when it was broadened by composers worldwide. My transcription helps to fill a gap in the repertoire for horn and piano by Spanish composers before 1950. It will serve as both a resource for horn players and a valuable contribution to horn recital repertoire.