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In accordance with the notion of the so-called “new musicology” that musicological studies should steer away from the canon of masterpieces, this study concentrates on Robert Fuchs as an example of a Kleinmeister. His Piano Trio in C major, Op. 22, is a demonstration of developing variation, a term coined by Arnold Schoenberg to refer to the technique of motivic development within a musical composition as a whole. According to Schoenberg, the music of Johannes Brahms illustrates the most advanced manifestation of developing variation in that he often starts to develop his motives from the very opening of a piece. The technique of developing variation became one solution to the key problem composers faced in the later nineteenth century, namely how to create large forms from very concise thematic material. The purpose of this study is, firstly, to describe the concept of developing variation, providing** a historical perspective with specific reference to Brahms, and, secondly, to trace the manifestation of developing variation in Robert Fuchs‟s Piano Trio in C major, Op. 22, a work which Fuchs dedicated to Brahms. The empirical section of this study shows that the characteristic feature of the germ cell (G-A-G) that appears at the beginning of this composition, namely a movement away from and a return to the point of departure, manifests on micro- (motivic), meso- (thematic), and macro- (structural) level. On micro-level the germ cell grows teleologically by means of metric displacement, rhythmic changes, augmentation, diminution, intervallic expansion, inversion, retrograde, retrograde inversion, extension, sequential treatment, liquidation and further derivatives of the germ cell until a large form is created: a four-movement work for three instruments. This study also demonstrates how the shape of the germ cell can be found in larger structures as themes and the overall structure of each of the four movements. / PhD (Music Performance), North-West University, Potchefstroom Campus, 2015

In accordance with the notion of the so-called “new musicology” that musicological studies should steer away from the canon of masterpieces, this study concentrates on Robert Fuchs as an example of a Kleinmeister. His Piano Trio in C major, Op. 22, is a demonstration of developing variation, a term coined by Arnold Schoenberg to refer to the technique of motivic development within a musical composition as a whole. According to Schoenberg, the music of Johannes Brahms illustrates the most advanced manifestation of developing variation in that he often starts to develop his motives from the very opening of a piece. The technique of developing variation became one solution to the key problem composers faced in the later nineteenth century, namely how to create large forms from very concise thematic material. The purpose of this study is, firstly, to describe the concept of developing variation, providing** a historical perspective with specific reference to Brahms, and, secondly, to trace the manifestation of developing variation in Robert Fuchs‟s Piano Trio in C major, Op. 22, a work which Fuchs dedicated to Brahms. The empirical section of this study shows that the characteristic feature of the germ cell (G-A-G) that appears at the beginning of this composition, namely a movement away from and a return to the point of departure, manifests on micro- (motivic), meso- (thematic), and macro- (structural) level. On micro-level the germ cell grows teleologically by means of metric displacement, rhythmic changes, augmentation, diminution, intervallic expansion, inversion, retrograde, retrograde inversion, extension, sequential treatment, liquidation and further derivatives of the germ cell until a large form is created: a four-movement work for three instruments. This study also demonstrates how the shape of the germ cell can be found in larger structures as themes and the overall structure of each of the four movements. / PhD (Music Performance), North-West University, Potchefstroom Campus, 2015

I den här uppsatsen analyseras Henryk Wieniawskis violinkonsert i d-moll, Op. 22, sats 1. Syftet med studien är en djupdykning i satsens grundstruktur: funktionsanalys, formanalys, motivanalys, sonatform samt en beskrivning av min instuderingsprocess. Jag guidar läsaren genom verket och kommenterar parallellt mina konstnärliga val. Studien påvisar att verket genomsyras av en kammarmusikalisk dominans såväl som det innehåller en genomgående violinistisk naturlighet som tydligt återspeglar Wieniawskis gedigna personliga violinkännedom.

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Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.

Mgr. Petra Kolátorová Abstract: Thesis dealt with the Serenade E major Op. 22 (B 52) and the Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in the view of the musical genre of the orchestral serenade. It answered the question of influence and meaning of the Dvořák's Serenades among Serenades of his contemporaries, the question of place of this genre among the other musical genres and the question of reflection of music criticism at that time. Analysis of both works and their comparison with the selected works showed the way how the expectation of this genre reflected in the compositional ways and methods of both Dvořák's Serenades. The composer in his Serenades depicted all layers of meaning of this genre as was such a noble simplicity, oscilation of the genre between chambre and orchestral music between artistic or rather entertaining character of music, continuity of original serenades and history of the genre. Dvořák had created the works which in certain aspects foreshadowed near future (neoclasicism).

The purpose of this thesis is to introduce a musical work of one of the world's most favorite composers of the 20th century - Sergej Prokofiev. Even though I would like to address all his pieces, given the extensiveness of his work and my profession as a pianist and a pedagogue, I decided to focus only on the pieces for solo piano. I detail each piano piece in a catalogue organized by opus number. My analysis focuses on compositions, eventually on cycles, which can be somehow beneficial to us. Beneficial, in this sense means exposure to pieces with variety of character, use of melody and eventually pieces from a various work periods. Another condition during a selection of pieces for my dissertation was various levels of difficulty. The majority of my thesis is dedicated to the piano sonatas. Although they are not very long, they belong to the piano masterpieces forever. Further, I mention less performed Etudes, Op. 2 and Visions fugitives, Op. 22, and on the other hand well known Suit from Romeo and Juliet, Op. 75. The music for children is represented in my analysis by one piece only - Children's Songs, Op. 65. Prokofiev wrote nearly 40 opuses for piano, which makes up almost a third of his work. That is a remarkable number and these pieces are worth interest.

Master of Music / Department of Music / Frank C. Tracz / The following report is an in depth research and analysis project based on the graduation requirement for a Masters in Music Degree from Kansas State University. The product of this project was a conducting recital performed by Michael E. Bistline with the Union High School Concert Band. This performance was held on May 5, 2009 in Matt Auditorium at Union High School. The repertoire included National Emblem March by E.E. Bagley/edited by Frederick Fennell, On An American Spiritual by David Holsinger, Portraits by Jim Colonna, and Serenade Op. 22 (c) by Derek Bourgeois. The theoretical, historical and technical analyses of this project was collected using the Unit of the Teacher Resource Guide, developed by Richard Miles and the Macro, Micro, Macro score analysis form developed by Dr. Frank Tracz. This report also includes documentation of the planning and evaluation of each rehearsal.