Thesis (Ed.D.)--Teachers College, Columbia University, 1975. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Ronald Herron. Includes bibliographical references (leaves 189-150).

Composition for piano.

Tales of Old Grandmother, Op. 31 by Prokofiev is based on a fairy tale theme. It can be considered as both a most valuable pedagogical piece for young students and as a piece for the concert repertoire. However, this piece was under-appreciated by most piano performers and piano pedagogues for many years, even though it was praised by several well-known composers and was often played by other pianists and Prokofiev himself. The main aim of this study is to promote the Tales so that they will be performed and taught more often. All of the complex harmonic language, unique unforgettable lyricism and Prokofiev's typical compositional elements are presented in this score, allowing it to serve as a great concert repertoire choice. At the same time, the simple format setting, less demanding technique and the fairy tale theme can easily catch and hold a children's interest. Therefore, Tales of Old Grandmother contains both performance value and pedagogical value. This premise is achieved through a discussion of Prokofiev's unfailing interest in fairy tales and comparisons between Tales of Old Grandmother with Prokofiev's advanced piano works and with his Music for Children, Op. 65. Lastly, a performance guide is given suggesting different performance interpretations, various practice strategies and several efficient teaching methods regarding the Tales of Old Grandmother, Op. 31.

This study seeks to discover the extent and manner of Debussy's use of the motive in thematic material. A total of 40 melodic examples were analyzed in order to show their relationship to a single motive, a three-note figure having a step-leap relationship. Using eighty-four series of examples, the study shows the melodies analyzed to be 85% motive-derived. The study concludes, therefore, that Images I is a remarkably economical work, using a single three-note motive as a unifying and developmental basis.

The aim of this diploma thesis is a profound understanding of the compositional intention and interpretation of the piano cycles Bagatelles et Impromtus by Bedřich Smetana. The first part of the thesis focuses on composer's personality and circumstances associated with the origin of this music piece. The second part of the thesis deals with a complex analysis of individual parts of the music cycle and its educational and interpretative grasp. Part of this thesis is an interview with pianist Miroslav Sekera and his view on the interpretation of the work.

This work deals with the life and work of French Impressionist composer called Claude Achille Debussy and its utility in primary and secondary levels of art education. The first part focusses on the life and work of the composer and gives more details about his piano work. The second part, using the surveys and interviews of the teachers of elementary music schools, examines the use of Claude Debussy's work and Impressionism in teaching at elementary music schools and Conservatories. We can also find there the section with fully cited interviews with an elementary music school teacher who uses Claude Debussy and Impressionism works in her lessons and with a pupil who, under her direction, interpretes a compositon of Claude Debussy. There are eighty examples of the musical compositions by Claude Debussy attached and as well as the recording of an elementary music school pupil interpreting Debussy's Arabesque. KEY WORDS Claude Debussy, piano, piano composition, interpretation, utility in teaching, elementary music school, the Conservatory.

In dem Titel "wELten ERleBEn" stecken - bei Berücksichtigung der Großbuchstaben - die Wörter ERBE und ELBE. Ein Beitrag zum Welterbetag 2009, in dem die Schönheit der Landschaft sowie ihre Bedrohungen (Hochwasserkatasgtrophe 2002, Bau der Waldschlösschenbrücke) zum Klingen gebracht wird, ohne den Hörer auf eine einseitige Deutung festzulegen. Uraufführung: 6. Juni 2009 in Dresden

No description available.