Alexander Nikolayevich Scriabin is a Russian composer in the late nineteenth century. His compositions can be divided into three periods. Influenced by the romantic music and Frederic Chopin, the early period is from 1888 to 1902 in which his works are tonal music. In the second period, 1903-1908, Scriabin started to use more dissonances and chromaticism resulting in lacking tonality. In the late period, 1909-1915, Scriabin was impacted by mysticism, and his music style became more atonal. Scriabin¡¦s Mazurkas composed between 1889 to 1903, are in three sets, op.3, op.25 and op.40. The music style of these three sets is quite different and varied. This thesis focuses on the analysis of Scriabin¡¦s Mazurkas. Excluding the introduction and conclusion, there are three main parts. The first part stresses on the origin and history of the music genre ¡§Mazurka.¡¨ According to the historical document, the styles of three types of Mazurka and Frederic Chopin¡¦s Mazurka will be presented in this part. In the second part, the compositional background of Scriabin¡¦s Mazurkas, musical background of late nineteenth century in Russia, and Scriabin¡¦s music style in the three periods are fully discussed. The third part will give a detailed analysis of Scriabin¡¦s three Mazurkas (op.3, op.25 and op,40 ) showing the specific changes in style and different characters between his early and middle period of works.

Johannes Brahms is an important composer of 19th Century German. His music style inherits from the classical form, symmetric equilibrium, and blend with the romantic spirit. His unique music language includes, ¡§variable rhythm¡¨, ¡§transform, and combination of motive¡¨, ¡§extension, and transition of phrases¡¨, as well as the ¡§application of modulations, and cadences¡¨. These unique characteristics make his music colorful. Although Brahms¡¦ music does not have the brilliant techniques, and dramatic contrasts, but his work still finds its own position in the romantic period. In the later period of Brahms, his work breaks free from the prolonged, massive, and complicated scale, and transforms into the simple form with no technique emphasized piano pieces. During this period, Brahms¡¦ music is written by his free and unrestrained ideas. Sometimes, he would combine some literature in order to reinforce the depth of music conception. Klavierstücke op. 118 is composed in 1893, it is published at the same time with op. 119. They are both the last piano pieces. In op. 118, lots of moods change in these 6 pieces, for example, passion, enthusiasm, tenderness, excitement, grace, sadness¡Ketc, as if you are experiencing one person¡¦s life. Brahms connects different kinds of emotions together to allow audience experience all these feelings within one time. The first chapter of this thesis is to briefly go through the influence, and importance of Brahms in the music history, and to introduce the important piano pieces in each period. The second chapter is to analyze the music structure, theme, motive, harmony, and modulations of Klavierstücke op. 118. The focus of third chapter is on the performance practice of expression marks, characteristics of each voice, and the application of pedal.

Proefschrift Maastricht. / Lit. opg.: p. 319-332. - Met samenvatting in het Engels.

Situar a pequena peça romântica para piano no contexto histórico e cultural do século XIX, e dela extrair propostas no campo da didática, é o objetivo desse trabalho. Para isso, procurou-se buscar não só a origem, mas justificar a preferência da pequena forma por parte dos compositores, em detrimento de formas maiores, já consagradas e aceitas universalmente. Fatores como o aperfeiçoamento do piano, estrutura, características e titulação das peças são abordados, assim como o movimento nacionalista, que tão bem delas se utilizou como veículo de expressão. A obra Macchiette op.2, coletânea de Henrique Oswald, serviu de exemplo vivo para ilustrar e justificar o que foi proposto: peças descritivas, intimistas, danças, revelam não só as tendências da época, mas as características, o estilo do compositor, que, através delas e de maneira particular, original, subjetiva, expressa suas emoções e se deixa conhecer. / The objective of this paper is to place this small romantic piano piece in the historical and cultural setting of the XIX century and extract from it some new ideas for teaching. For this reason, we tried to get at its very origins and justify the preference for the small form favored by the composers rather than larger, already consecrated and universally accepted forms. Factors such as perfecting the piano as well as structure, characteristics and studying the titles of the pieces were looked at, just as the nationalist movement that at the time used them for expression. Macchiette op.2, compiled by Henrique Oswald, is a lively example to illustrate and justify the purpose: descriptive, intimistic pieces, dances, revealing not only trends of their time, but the features and style of the composer who, in a very particular, original and subjective way, used them to express his feelings and make himself known.

Proefschrift--Katholieke universiteit Nijmegen, 2000. / Résumé en français. Bibliogr. p. 421-453.

Situar a pequena peça romântica para piano no contexto histórico e cultural do século XIX, e dela extrair propostas no campo da didática, é o objetivo desse trabalho. Para isso, procurou-se buscar não só a origem, mas justificar a preferência da pequena forma por parte dos compositores, em detrimento de formas maiores, já consagradas e aceitas universalmente. Fatores como o aperfeiçoamento do piano, estrutura, características e titulação das peças são abordados, assim como o movimento nacionalista, que tão bem delas se utilizou como veículo de expressão. A obra Macchiette op.2, coletânea de Henrique Oswald, serviu de exemplo vivo para ilustrar e justificar o que foi proposto: peças descritivas, intimistas, danças, revelam não só as tendências da época, mas as características, o estilo do compositor, que, através delas e de maneira particular, original, subjetiva, expressa suas emoções e se deixa conhecer. / The objective of this paper is to place this small romantic piano piece in the historical and cultural setting of the XIX century and extract from it some new ideas for teaching. For this reason, we tried to get at its very origins and justify the preference for the small form favored by the composers rather than larger, already consecrated and universally accepted forms. Factors such as perfecting the piano as well as structure, characteristics and studying the titles of the pieces were looked at, just as the nationalist movement that at the time used them for expression. Macchiette op.2, compiled by Henrique Oswald, is a lively example to illustrate and justify the purpose: descriptive, intimistic pieces, dances, revealing not only trends of their time, but the features and style of the composer who, in a very particular, original and subjective way, used them to express his feelings and make himself known.

This paper aims to draw attention to the oft neglected cello compositions of Ernst von Dohnányi. A prolific performer, composer, and pedagogue, Dohnányi has fallen into obscurity amongst the general population since his passing in 1960. Among the works discussed in this document are two unpublished sonatas from Dohnányi’s childhood, his Cello Sonata in B-flat, op.8 and his Konzertstück for Cello and Orchestra op.12. Each piece is given a historic background placing it among events of the composer’s life that led to its genesis and premier. This is followed by a formal and harmonic analysis and concludes with special considerations for the cellist in performing or teaching each work. Also included are complete editions of two previously unpublished works: Sonata for Cello and Piano in G-major composed in 1888 and a Grand Sonata for Cello and Piano in C-major composed in 1889. The manuscripts for both works are contained within the British Library’s Dohnányi Collections, from which I have compiled and edited the following performance editions. It is my hope that these two sonatas will enter the repertoire of student cellists supplementing the relatively small catalogue of music for the intermediate cellist.

No description available.

No description available.

Co-op programs bridge the gap between the academic and work worlds and provide students with practical experience in their chosen fields while they earn money between academic school terms. The Technical Communication Diploma program at Red River College in Winnipeg, Manitoba, has incorporated a co-operative education term. Instructors at the College charged with placing co-op students each year are challenged in finding such placements, and they receive little guidance from research. In this study, I interviewed 21 employers in Winnipeg who hired co-op students from the Technical Communication Diploma program at Red River College from 2003–2005, to determine their perspectives on participation in co-op programs. Important factors influencing Winnipeg employers were the productivity of students and their specialized skill sets. The major deterrent to re-hiring students was lack of funding. A Model of Employers’ Motivation to Participate in Co-op Programs is proposed. / October 2006