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Este trabalho estuda a obra de Itamar Assumpção, investigando os principais procedimentos de composição musical utilizados, bem como a relação que possuem com suas vivências pessoais de aprendizagem musical e teatral. Sua obra promove algumas sínteses de materiais musicais e poéticos da tradição popular brasileira e internacional, referencias que são reelaboradas no processo de criação de suas canções. São demonstradas e analisadas a confluência e a atrelagem que existe entre a ação da performance e oito matrizes composicionais identificadas ao longo das diferentes fases de sua obra. / This paper studies the music of Itamar Assumpção, exploring not only the compositional procedures employed, but also their relation to the artist\'s musical and theatrical life experiences. Assumpção\'s work harmonizes musical and poetic material from the Brazilian and international popular tradition, a synthesis that is reconstructed in the process of songwriting. This paper demonstrates and analyzes the confluence and interconnection between the act of performance and eight compositional structures identified throughout different phases of his work.

Este trabalho estuda a obra de Itamar Assumpção, investigando os principais procedimentos de composição musical utilizados, bem como a relação que possuem com suas vivências pessoais de aprendizagem musical e teatral. Sua obra promove algumas sínteses de materiais musicais e poéticos da tradição popular brasileira e internacional, referencias que são reelaboradas no processo de criação de suas canções. São demonstradas e analisadas a confluência e a atrelagem que existe entre a ação da performance e oito matrizes composicionais identificadas ao longo das diferentes fases de sua obra. / This paper studies the music of Itamar Assumpção, exploring not only the compositional procedures employed, but also their relation to the artist\'s musical and theatrical life experiences. Assumpção\'s work harmonizes musical and poetic material from the Brazilian and international popular tradition, a synthesis that is reconstructed in the process of songwriting. This paper demonstrates and analyzes the confluence and interconnection between the act of performance and eight compositional structures identified throughout different phases of his work.

The primary purpose of this study is to provide connections between a formal motivic analysis and the programmatic content of David Maslanka's three works for unaccompanied marimba: Variations on Lost Love (1977), My Lady White (1980), and A Solemn Music (2013). A comparison of the compositional process of each of these works is proposed through terms of Maslanka's use of depiction. Depiction is the action or result of representing through drawing, painting, or other art form, in this case, music. In each work for unaccompanied marimba, Maslanka uses this process of depiction in a unique way. The depictive mediums are categorized as evocative, representative, and introspective and these distinct approaches to depiction lead to three drastically different musical works. The different methods of depicting source materials are the distinguishing characteristics that separate these three works for solo marimba. This document includes a motivic analysis and comparisons of compositional devices used in these three works. A brief overview of Maslanka's life and works as well as a listing of all of his works that feature percussion instruments are also included.

This study uses Bergson's concepts of duration and spontaneous (now termed episodic) memory to reveal how musical material in Rachmaninoff's Prelude Op. 32 No. 10 in B Minor (1910) turns back on itself in recurring remembrances of its own past, bringing the listener out of ordinary time; a process that mirrors themes both from Rachmaninoff's life, and Arnold Böcklin's Die Heimkehr, the painting that inspired this piece. Time perception slows or even suspends when one reflects on the past, either a personal past or the historical past. Musical material in the Prelude undergoes analogous time warps. In conversation with Bergson's ideas, this study illustrates the unique temporal qualities in the musical language of the Prelude, for which standard forms of analysis fail to completely capture the essence. The overall aim is to demonstrate Rachmaninoff's idiosyncratic approach to piano writing, which many have discredited as anachronistic. This study suggests a new methodology – Bergsonian musical analysis – with which to understand the concealed innovations in Rachmaninoff's piano idiom. This study of Rachmaninoff's B Minor Prelude builds on publications concerning other Bergsonian interpretations of music in pursuing a thorough investigation of one work and its relationship with broader issues in philosophy and visual art. The result is a theoretical engagement with the Prelude that establishes a new methodology to deal with Rachmaninoff's piano idiom in general. A Bergsonian analytical technique reveals the real artistry behind Rachmaninoff's compositions – not just remnants of some past romantic idiom, but an idiosyncratic musical grappling with the nature of time and memory.

1 Abstract This Master's thesis presents the first look into the music of Scottish-Czech composer Geraldine Mucha (1917-2012) which has never been subject to academic study before. I characterize her compositional style and musical language, as well as their development over time, by analyzing four orchestral compositions written between the 1940s and 1980s - Overture to Tempest, Piano Concerto, Suite from the ballet Macbeth and John Webster Songs. In the thesis, I am also introducing the - in Czech musicological context entirely unknown - discourse on the issue of musical analysis of pieces written by women composers and I critically explore its different strands of thought. When possible, I examine the selected pieces by using Ellie M. Hisama's theoretical model which claims that in women's music, evidence may be found that provides information about their specific female experience in the patriarchal world.

The purpose of this study is to analyze the compositional techniques in Choses en soi op.45, by Sergey Prokofiev, and to explore the new aesthetic concepts he claimed to include in this composition. Through the examination of the compositional elements and discussion of its salient characteristics.

Alexander Tcherepnin (1899-1977) was a Russian-born American composer, his musical style represents the modern and diverse features of much twentieth-century piano music. The purpose of this research is to conduct a comprehensive pedagogical analysis of Alexander Tcherepnin's Bagatelles, Op. 5 with the goal of introducing contemporary characteristics in twentieth-century piano music for the late-intermediate student. Chapter 2 contains overall biographical information regarding Alexander Tcherepnin and a discussion of the general compositional style of his piano works. Chapter 3 analyzes the Bagatelles, Op. 5 from the perspective of musical challenges concerning the contemporary characteristics, including contemporary harmony: interval of seconds, non-tertian chords, special use of the seventh chords, and ninth chords; contemporary rhythm and meter: shifted accents, asymmetric meter, meter change, and ostinato; modal melodic resources and tonalities; and other special tonalities. Chapter 4 has suggestions on fingering, pedaling, articulation, tone, dynamics and phrasing, and practicing procedures for individual technical difficulties. Studying the Bagatelles, Op. 5 provides a transition for the student from learning standard repertoire of the eighteenth and the nineteenth century, to contemporary repertoire through the combination of Russian compositional traditions with twentieth century repertory.