Thesis (Ph. D.)--University of Florida, 2008. / Title from title page of source document. Document formatted into pages; contains 171 pages. Includes vita. Includes bibliographical references.

No description available.

No description available.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 148-155). Also available in electronic format on the Internet.

Teilw. zugl.: Jäväskylä, University, Diss., 2008. / Includes bibliographical references and index.

The goal of this research is to discover Shostakovich's inspiration and motivation for writing the Twenty-Four Preludes and Fugues. Through the in-depth research of the cycle, this thesis will discuss the different aspects of the unique harmonic ambiguity of both the preludes and the fugue subjects so that readers understand Shostakovich's language of musical communication. Shostakovich lived during a transitional period in the history of Russia when totalitarianism was being challenged. The research will also explore how the political environment influenced his composition during those years. / by Jihong Park. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2239. Adviser: Donna Buchanan. Includes bibliographical references (leaves 217-231) Available on microfilm from Pro Quest Information and Learning.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2239. Adviser: Donna Buchanan. Includes Grigory Gerenstein's English translation. Includes bibliographical references (leaves 217-231) Available on microfilm from Pro Quest Information and Learning.

This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first chapter is concerned with Prokofiev's juvenilia (1898 to c. 1906). Drawing upon a large amount of previously unpublished archival resources, this chapter uncovers the original gestures and thematic ideas which characterize Prokofiev's early style. The next chapter focuses on Prokofiev's period at the St Petersburg Conservatory, tracing his development into a virtuoso pianist, examining the nature of that virtuosity and chronicling the creation of Prokofiev's performing persona. The gestures and idea- types identified in the first chapter are then examined within the context of Prokofiev's works for solo piano, his early works with orchestra and his first two major operas. Conclusions are then drawn about the nature of Prokofiev's distinctiveness, his compositional legacy and about his current position as a major twentieth-century composer.

The tenorhorn and baryton (euphonium), as members of the valved conical brass family, were highly regarded by Oskar Böhme (1870-1938) and Victor Ewald (1860-1935). This study examines the role the tenorhorn and baryton played in selected works by these two composers of the Russian Chamber Brass School. A chronology of the research leading to the discovery and naming of the Russian Chamber Brass School is included as well as a discussion on brass chamber music performance practice both then and now.