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).

Not available / text

Thesis (D.M.A.)--University of Rochester, 1972. / Analysis of piano quintets by Anton Webern, Louis Vierne, Edward Elgar, Bohuslav Martinů, Nikolay Medtner, and Ross Lee Finney. Vita. Bibliography: leaves [269-272]. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4819

Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya Sonata, Opus 53 No.2, is the most concentrated and abstract of his works. The themes are built from highly lapidar motives, giving this work an intensely angular, rigorously mathematical character. All the symmetrical hallmarks of Medtner's language are in abundant evidence in this great work. Features include the extensive symmetrical mirroring of the opening section, frequent use of contrary voice leading as a generator of harmonic progression, and constant tritone shifting. Medtner also builds sequential chains based on two more symmetrical forms, the diminished seventh and the augmented triad. Finally, the design of this unique single movement sonata may be a hybrid of sonata form with palindrome. The Grozovaya Sonata is a microcosm of the symmetrical features of Medtner's language.

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.