Thesis (D.M.A.)--Ohio State University, 2002. / Title from first page of PDF file. Document formatted into pages; contains xv, 129 p. Includes abstract and vita. Advisor: Carolyn Hong, School of Music. Includes bibliographical references (p. 126-128). Discography: p. 129.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Sept. 10, 2001, June 25, 2003, Apr. 2, 2005, and Nov. 10, 2005. Includes bibliographical references (p. 49-53).

Thesis (D.M.A.)--Ohio State University, 2002. / Includes abstract and vita. Includes bibliographical references and discography.

No description available.

The purpose of this study is to provide scholastic research on Robert Muczynski's Second Piano Trio (1975) by presenting his biographical background, discussing influences and his musical style, and analyzing the work. Robert Muczynski (b.1929), a composer-pianist of Polish descent, studied with Alexander Tcherepnin (1899-1977). From traditional forms and techniques, he fashioned his own unique and innovative compositional style. The second piano trio, in particular, was deeper and more complex in its conception and affect than previous compositions. The first movement Andante molto opening leads to an allegro section, and the somber second movement builds to a heavy climax. The third movement is highly rhythmic and dramatically driven. Chapter I outlines the purpose of the study and the composer's biography. Chapter II describes Muczynski's compositional influences and the evolution of his musical language. Emphasis in this respect will be placed on the pedagogical role of Alexander Therepnin, as well as the important connections between Prokofiev, Tcherepnin and Muczynski. An exploration of other elements that have informed Muczynski's style is offered. Chapter III details the circumstances, general characteristics, and compositional technique of the Second Piano Trio. Detailed analysis of all three movements will be provided, with particular attention paid to aspects of theme, form, harmony, rhythm, meter, tempo, articulation, texture, and dynamic. The theoretical analysis is the main portion of this document, and after a discussion of treatment of the piano, concluding reflections are offered in Chapter IV.

Robert Muczynski (1929-2010), composer, pianist, and educator, is a noteworthy American musician from our time. His prowess as a pianist undoubtedly accounts for the striking number of pieces he wrote for the piano, namely, one concerto, preludes, sonatas, suites, a toccata, and variations. Out of a total of forty-eight pieces with opus numbers, seventeen are for solo piano. This document contains an overview of Muczynski's life as a composer and musician, with an emphasis on his solo piano compositions. The body of the document traces sources of Muczynski's compositional style, especially the influence of Alexander Tcherepnin, his composition teacher and mentor, and Sergei Prokofiev. An analysis of some of Muczynski's shorter piano solo pieces follows: Six Preludes, op. 6, Suite for Piano, op. 13, and Toccata, op. 15. This analysis demonstrates that Muczynski's short piano pieces often exhibit a persistent focus on one generative musical idea within each piece, usually consisting of unifying etude-like material. For variety and color, he relies on frequent changes of metric pulse, sudden accents, highly chromatic harmony and melody, and an extreme range of sound. These stylistic traits are consistent with those previously identified by other scholars in his larger piano compositions.

Master of Music / Department of Music / Kelvin T. Kerstetter / This study provides a stylistic and structural analysis of Brahms's Trio for Piano, Clarinet, and Cello Op. 114, Francaix's Tema con Variazioni (1974), Muczynski's Time Pieces (1984), Carter's Gra, for solo clarinet (1993), and Hiyoku, for two clarinets (2001). One chapter is devoted to each piece. The composer's biographical information is presented, in addition to harmonic and structural analyses of each piece. Performance considerations and a stylistic guide are documented to aid in the performance of these works. Other vital information such as date of completion, premiere, dedication or commission information, and publication information are presented.

Master of Music / Department of Music / Kelvin T. Kerstetter / CHRISTOPHER ROBERT NICHOLS 138 Years of the Clarinet: Program Notes for a Master's Clarinet Recital of Works by Reger, Smith, Donizetti, Muczynski, and Schumann (Under the direction of Tod Kerstetter) This study provides a stylistic and structural analysis of Max Reger's Sonata in B-flat for clarinet and piano, Op. 107, William O. Smith's Five Pieces for Clarinet Solo (1959), Gaetano Donizetti's Primo Studio for solo clarinet (1821), Robert Muczynski's Six Duos for flute and clarinet, Op. 24, and Robert Schumann's Soiréestücke for clarinet and piano, Op. 73. This study contains five chapters, one devoted to each piece. Chapters include the composer's biographical information, harmonic and structural analyses, performance considerations, date of completion, premiere, dedication or commission information, and publication information. INDEX WORDS: Clarinet, flute, piano, woodwind, chamber music, Donizetti, Muczynski, Reger, Schumann, Smith, performance.

The purpose of this study is to investigate the pedagogical and performance aspects of Robert Muczynski's Concerto No. I for Piano and Orchestra. The work targets the early-advanced level of performance, representing a tutorial step in technical and musical difficulty. Muczynski's writing offers mild characteristic tendencies in comparison to later practices within the century, but does exhibit the emergence of a variety of significant keyboard skills. Moreover, his intermittent use of atonality is ideal for a student who is not yet comfortable with this idiom. For these reasons, the concerto serves as an excellent introduction to the genre for this level of study.This investigation is prefaced by an introduction to the topic of piano pedagogy in relation to concerto study, along with a brief biographical sketch of the composer. The investigation then provides a stylistic analysis of the Concerto No. 1 for Piano and Orchestra. Each movement is examined comprehensively (by formal structure) according to inherent technical and interpretive challenges, and musical examples are offered in connection with suggestions for practice and execution.Findings reveal a cross-section of twentieth-century innovation and challenge which not only represent the unification of Muczynski's style, but also offer opportunity for growth and development in terms of keyboard performance and the application of sound musical decisions.The investigation closes with suggestions for the study of other twentieth-century concerti closely resembling this work in style, but more artistically challenging in performance. / School of Music

No description available.