The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.

Unsuk Chin (b.1961), a Korean-born woman composer, was a student of Gyorgy Sandor Ligeti (1923-2006). Chin's work reflects the influence of Ligeti but also undeniably has its own style. This study investigates the six piano etudes so far published from 12 Piano Etudes (1995-2003) by Unsuk Chin and compares them with Ligeti's piano etudes to highlight the influence of the teacher on the student and to aid pianists in facing the unique technical challenges posed by both sets of etudes. The practice guide provided in this study for each specific technical difficulty requires a degree of patience from a student which, if followed, will enhance the performance.

Younghi Pagh-Paan is a female Korean-German composer. Although being a prolific composer, she has only twice composed for piano solo. Pagh-Paan's Mich Drüstet (I Thirst) is a piano solo work and based on the tragedy in Korea, the Jeju 4.3 Incident in 1948. Even though the Jeju 4.3 incident triggered mora than 30,000 casualties, I Thirst is the only music to commemorate the incident, as commissioned by the pianist Kaya Han. This study of I Thirst highlights her musical textures for the piano and elements she employs to express her thoughts about the event; for instance, Korean musical element, 12-tone techniques, and counterpoint. In addition, it addresses the need for the pianist to have background information about Jeju Island and the Incident by matching images with musical sections in order to achieve a deeper interpretation of Pagh-Paan's piano composition.

In Chinese contemporary piano music, large-scale piano compositions featuring innovative polyphonic musical languages are rarely found. Chang-Lei Zhu's Ballade for Solo Piano represents his development of contrapuntal techniques passed on from J. S. Bach and Dmitri Shostakovich in their polyphonic works for solo keyboard or piano. This study focuses on an analysis of Zhu's Ballade as an idiosyncratic composition that makes a significant contribution to the Chinese contemporary piano music repertory. Comparative analysis is made of Zhu's Ballade and J.S. Bach's Well-Tempered Clavier Books 1 and 2, as well as Dmitri Shostakovich's 24 Preludes and Fugues for Solo Piano, Op. 87. Zhu, a living Chinese composer born in 1976, uniquely writes the twenty variations of his Ballade based on the opening theme, a single melody in ten subphrases. This research lays out the close relationship of the opening theme with twenty variations in the Ballade. This study also illustrates how Zhu is an innovative voice in Chinese contemporary piano music literature. This comparative study constitutes the first scholarly study of Zhu's Ballade. Chapter 1 is an introduction to my comparative study. In chapter 2, comparisons on selected excerpts are conducted between Zhu's Ballade and J.S. Bach's WTC, Books 1 and 2, as well as Dmitri Shostakovich's Op. 87. Taking into consideration the pedagogical function of the Ballade, this study includes how the work can be used in Zhu's Ballade in piano pedagogy as an addition in chapter 3.

Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.

A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.

The Sound of the Prairie Land (Caoyuan Zhige) for viola and piano by the Chinese composer Qingwu Guan (b. 1938) has become one of the most popular works in the growing Chinese repertoire for viola. It also exists in another version for viola and viola ensemble, arranged by the Chinese violist Wing Ho, who also expanded the viola part with the composer's approval. The pentatonic work was highly influenced by the landscape and music of Inner Mongolia, a province of China next to the Mongolian border, and incorporates the music of an ode by the Inner Mongolian composer Alatengaole (1942–2011) called Sincere Wishes for a Long Life to Chairman Mao. Guan remains a strong supporter of Mao, the first chairman of the Chinese Communist Party. The work makes use of some performance techniques of the Inner Mongolian two-stringed fiddle called morin khuur, which has a similar tone to the viola: three kinds of slides, grace notes, imitations of a horse's neigh, and the representation of horses galloping across the prairie. The background of the work, understanding of the musical structure, and information about morin khuur techniques presented in this dissertation should aid performers in interpreting the work more authentically.

While he was composing his important orchestral tone poem Finlandia in 1899–1900, Jean Sibelius (1865–1957) made his own piano arrangement of it. The purpose of this study is to compare the piano arrangement and orchestral version and to see further the similarities with Sibelius's other piano compositions from the same time period (1899-1904). Through this study I have found compositional patterns, which are typical for the composer and defined his composition style for piano during his "Kalevala-Romantic" phase. Sibelius's piano style was characterized as unpianistic and bulky by some. However, through my research I can show that with an analysis of certain harmonic structures, subtle use of pedal and correct voicings, his piano texture is indeed very thoughtful and transparent with a clear focus on counterpoint while remaining pianistic and comfortable to play. In order to fully understand the idiosyncrasies of the two versions of Finlandia, a detailed comparative analysis of the piano and orchestral scores is necessary. For this purpose, I primarily used the printed scores of both the piano and orchestral versions. In addition, the manuscript of the piano version of Finlandia was consulted as an important resource. From the orchestra manuscript, only one page has been found. The analysis focuses on the comparison between the textures of both versions, the score and the piano arrangement. I also applied the results of the comparison to the other scores of Sibelius's piano compositions from that time period to show his consistency in his use of the described arrangement techniques. With using the orchestration possibilities of the piano Sibelius's writing allows the instrument to stand completely on its own using all the possibilities of the piano sound while maintaining a highly pianistic texture. The goal of my research is to provide insight to understanding Sibelius's early piano style, introduce some performance practice ideas appropriate to this period, and highlight his smaller-scale works such as the character pieces and songs of this period.

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The objective of the dissertation is to examine certain correlations between Busoni the philosopher and Busoni the composer. His aesthetic and theoretical points of view, which are of vital importance for an appreciation of his compositions, are reviewed. The manifestation of his musical thinking in his own compositional practice is substantiated through an analysis of two of his late works for the piano: the Sonatina seconda and the Toccata. In addition to the lecture recital, based on the dissertation and given on February 18, 1991, three other public recitals were performed. The first, on November 30, 1987, included works of Bartok, Brahms, Mozart, and Granados. The second program, a chamber recital on January 16, 1989, featured works by Brahms. The third recital was performed on April 23, 1990, and included works by Beethoven, Prokofieff, and Chopin.