Thesis (D.M.A.)--University of North Texas, 1999. / Includes bibliographical references (p. 70-72).

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Nov. 3, 2003, Sept. 25, 2006, and Nov. 26, 2007. Includes bibliographical references (p. 53-56).

Thesis (B.M.)--Butler University, Summa cum laude, 1970. / Includes bibliographical references (leaf 62).

Thesis (D.M.A.)--University of Texas at Austin, 2003. / Supervisors: Gregory D. Allen and Edward R. Pearsall. Vita. Includes bibliographical references. Also available from UMI.

Thesis (D. Mus. Arts)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 98-101).

Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

The compositional language of Russian composer-pianist Nikolai Medtner (1880-1951) demonstrates an evolution of the traditional forms and harmony. Following the classical and romantic traditions, Medtner's compositional technique reveals his individual and original approaches to form and harmony. The unique architectonic in his works is achieved through particular tonal-harmonic juxtapositions of the sections, the frequent prevalence of the monothematic principle, the increased role of the developmental material in the exposition, and contrapuntal combination of themes. Harmonic vocabulary is characterized by chromatic harmony, altered dissonant chords, augmented triads, complex chains of modulations, and usage and combination of modes and octatonic scale. Counterpoint is of great importance toward understanding the chord progression found in his music. Skazki (fairy tales) are pieces in small form, such as preludes, or novelettes; they hold an important place in Medtner's oeuvre. The fairy tale genre is associated with many artistic traditions, including Russian folk art. Medtner's 38 fairy tales, varied in imagery and character, were composed during different periods of his life. The evolution of the genre is seen in form and harmonic language. The lyrical, subjective mood of the fairy tales of the earlier period, such as op. 8, op. 9 and op. 14, evolve into large-scale works, such as fairy tales op. 20 and op. 35. In his later years, in fairy tales from op. 42, Medtner imbues the form with a greater clarity of expression, a tendency to move toward simpler musical expression, and an expanded use of thematic Russian folklore sources, including more definite ties with song and dance genres.

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Nicolai Medtner (1880-1951) is regarded as an accomplished composer and one of the most brilliant pianists of his time. He composed numerous compositions for piano that fall into three main categories: piano solo, piano with voice, and piano chamber music. He composed four large-ensemble pieces, including three concerti and the piano quartet in C major. This essay will concentrate on the lesser-known Piano Concerto No. 3, subtitled "Ballade." This three- movement work is extremely challenging because of its large and complex structure. Gaining a clear understanding of the structure and its formal innovation is paramount for performance success. It is my hope that this essay will contribute to bringing this piece into the standard repertoire. There are four chapters in this essay. In Chapter I, a general discussion of the composer's life and his music will be presented. The background of the concerto will be introduced and the purpose of this essay will be discussed in Chapter II. In Chapter III, a detailed analytical discussion of the structure of the concerto will be presented, in order to clarify the structure and the use of thematic materials. Lastly, practice and interpretative suggestions for this concerto will be discussed in Chapter IV.

Rachmaninov regarded Nikolai Medtner as the greatest composer he had ever known, yet Medtner's music is often neglected in the standard repertoire. Lack of public awareness, as well as the technical and musical difficulties in these works, both contribute to their inaccessibility. Unlike Rachmaninov's music, Medtner's music possesses none of the romance and sentimentality, thus lacking in immediate appeal. However, with repeated listening, it gradually reveals its beauty and brilliance. This document examines Medtner's Acht Stimmungsbilder, Op. 1, from a pedagogical viewpoint. Chapter One provides a short biographical background. Chapter Two discusses Medtner's musical style and his publication, The Muse and the Fashion. Chapter Three is devoted to a pedagogical analysis of the work. The last chapter concludes the paper with a suggested order of study. This set of work is technically challenging and is selected with the advanced-level or college student in mind. These students would have had experience performing 19th Century works and is looking to expand their repertoire. This pedagogical guide is written for the reference of the teacher, however, the student may find this useful to them as well.