Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

In the first half of the nineteenth century, London provided an excellent environment with abundant musical activities that attracted outstanding musicians all over the Continent to be here for their careers. Both the Industry Revolution and the French Revolution brought essential changes of political and economical activities into London, and consequently influenced the musical environment. In addition, the enthusiasm for music, from the Royal to the civics, provided a stage for the development of piano music. This thesis discusses the musical environment and social condition of London in the first half of the nineteenth century, their influence to the writing and performing of piano sonatas by ¡§the London Pianoforte School.¡¨ There are three main chapters in this thesis. Chapter One discusses the influence of social transition to musical activities and points out the social phenomenon of music, the performing environment, the demand of piano production, and the technical improvement of piano making. Chapter Two investigates the writing of piano sonatas by ¡§The London Pianoforte School¡¨, including the forming of the school, musician activities in London, and situations about of the piano sonatas that were written and published. Chapter Three examines the functions of piano sonatas of ¡§the London Pianoforte School¡¨, and compares the differences between sonatas written for teaching and for public concerts purposes, focusing on writing techniques for different functions.

Jan Václav Hugo Voříšek (1791 – 1825) a une importance réelle dans l'histoire de la musique notamment pour avoir fondé le genre de l'impromptu, et sa musique, au style résolument visionnaire en plusieurs points, est de qualité. Elle peut de plus séduire le public d'aujourd'hui pourvu qu'on la joue bien. La présente thèse souhaite combler trois lacunes : un travail dans le domaine de la thèorie de l’interprétation, une édition critique commentée, et la réalisation d’un travail de recherche appliquée – l’enregistrement intégral sur un instrument approprié. Le texte propose la recherche sur l’interprétation de la musique ancienne aujourd’hui. Le premier chapitre présente la vie du compositeur et son développement artistique. Le deuxième chapitre est consacré à des questions plus générales d’interprétation, illustrées par la suite sur les œuvres de Voříšek. Les problèmes concrets d’interprétation sont vus plus en détail dans le troisième chapitre, où les œuvres de Voříšek sont examinées. La thèse est complétée par deux annexes pratiques. La première propose l‘esquisse des changements nécessaires dans l’édition moderne de la partie la moins traitée auparavant, les Rapsodies op. 1. La deuxième est un enregistrement sonore des œuvres de Voříšek, qui présente l’interprétation basée sur l’étude de sources musicales et de la pratique de l’époque, sur l’instrument proche du temps de la naissance des œuvres joués. / Jan Václav Hugo Voříšek (1791-1825) has an indispensable role in the music history: being the creator of the genre impromptu, his visionary musical style has many qualities. His music has a great potential to speak to nowaday´s public, if well interpreted. This thesis wishes to fill three gaps in the existing treatment of the subject: the research in the field of the theory of interpretation, the comented critical edition and the work of the applied research – a complete recording on an instrument suitable to the repertoire. The text offers the results of the research and shows the possibilities of today´s interpretation of early music. First chapter treats composer´s life and artistic developpement, the second chapter orientates on general period interpretation and the third chapter analyses Voříšek´s solo piano music. Two practical annexes complete the thesis. One of them is the suggestion of changes in the existing edition, in order to fulfill the needs of the historically informed interpretation. The other one, the recording shows an interpretation based on a study of the musical sources and of the period practise, on an instrument close to the time of the genesis of the works performed. The aim was to apply the results of the theoretical research presented in the second and the third chapter of this thesis in the interpretation.

A Sonata per pianoforte, composta em 2001, é o trabalho para piano solo de maior fôlego de Luciano Berio. A peça condensa diversas estratégias composicionais características de Berio e se apresenta, assim, como uma espécie de relicário da escritura desse compositor. Nesse trabalho comentaremos, a partir da Sonata, três importantes estratégias composicionais de Luciano Berio: a noção de reescritura, a noção de gesto e a noção de processo. Como veremos, essas três noções são atravessadas pela idéia de obra aberta e estarão presentes durante todo seu percurso composicional, consolidando-se como aspectos fundamentais para a construção de sua poética. / The Sonata per pianoforte, composed in 2001, is the Luciano Berio\'s solo piano work of greatest scope. The piece brings together several of Berios\'s characteristic compositional strategies and thus presents itself as a sort of a reliquary of his musical resources. In this work, we will comment, from the Sonata, three Luciano Berio\'s important compositional strategies: the notion of rewriting (réécriture), the notion of gesture and the notion of process. As we will see, these three notions are crossed by the idea of open work and will be present throughout his compositional pathway, establishing themselves as fundamental aspects for the construction of his poetry.

A Sonata per pianoforte, composta em 2001, é o trabalho para piano solo de maior fôlego de Luciano Berio. A peça condensa diversas estratégias composicionais características de Berio e se apresenta, assim, como uma espécie de relicário da escritura desse compositor. Nesse trabalho comentaremos, a partir da Sonata, três importantes estratégias composicionais de Luciano Berio: a noção de reescritura, a noção de gesto e a noção de processo. Como veremos, essas três noções são atravessadas pela idéia de obra aberta e estarão presentes durante todo seu percurso composicional, consolidando-se como aspectos fundamentais para a construção de sua poética. / The Sonata per pianoforte, composed in 2001, is the Luciano Berio\'s solo piano work of greatest scope. The piece brings together several of Berios\'s characteristic compositional strategies and thus presents itself as a sort of a reliquary of his musical resources. In this work, we will comment, from the Sonata, three Luciano Berio\'s important compositional strategies: the notion of rewriting (réécriture), the notion of gesture and the notion of process. As we will see, these three notions are crossed by the idea of open work and will be present throughout his compositional pathway, establishing themselves as fundamental aspects for the construction of his poetry.

Th. Etat--Littérature comparée--Paris 3-Sorbonne nouvelle, 2001. / Photocopie interdite. Bibliogr. f. 387-431. Index.

The aim of this study is to identify the main differences in compositional style in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three Incantations for flute, clarinet and piano, and Khalagari for flute and piano). After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural elements, it was clear that the two composers’ composition style is different from one another. Differences can be identified under the following main points: form structure, melodic and harmonic content, recurring motives and texture. Hofmeyr makes use of traditional form structures, such as sonata form, ternary form, and theme and variations. Johnson does not use traditional form structures and makes use of free form structures, such as: A1-A2-A3-A4-A5- A6-A7 (second movement from Khalagari), ABABC (third movement from Three Incantations), and A1-A2-B-A3-closing section (first movement from Three Incantations). The first movement from Khalagari is the only movement where references to sonata form can be found. Hofmeyr uses existing modes and scales in his works. Both his Sonata per Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous examples where he makes use of the octatonic scale and the phrygian mode. Examples of the hexatonic scale can be found in the first and second movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord structures are also based on these scales and modes. Alexander Johnson does not use any of the above-mentioned scales, but rather makes use of his own scale (labeled as the “Johnson-scale” in this study). His chord structures are also based on this scale. Hofmeyr does not use themes and motives from other compositions in the three works in this study. He does however combine themes from earlier movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e Pianoforte. Johnson combines motives and themes from other compositions in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study. / Thesis (DMus)--University of Pretoria, 2014. / tm2015 / Music / DMus / Unrestricted

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This thesis examines the effects of a multi-methodological approach (theory, history, practice) to piano studies. The aim was to see how a deeper and more structured study would improve my piano playing. The study process was based on two specific compositions: Fantaisie-Impromptu, op.post.66 by the Polish composer Fryderyk Chopin and Clair de Lune, from Suite bergamasque by the French composer Claude Debussy. The compositions were executed and recorded in the first part of this project before the academic year 2020/2021, once from the middle part and twice from the final part of the project, spring 2021. Four recordings were done between June 2020 and the final concert in June 2021 and are all uploaded on the same YouTube channel, Pianist Sven. As a result, an improved efficiency and structure during piano practice sessions and when stud- ying theoretical aspects, has been obtained. Musically speaking, I got a better understanding of rhythm and tonality. The practical and theoretical studies carried out has helped me to create a methodological map to applicate in the future and to develop further.During the study of the specific subject, I created two handwritten paper posters. For achieving an increased readability of the thesis, images were uploaded on an own created website, called Chopin-vs-Debussy. I have conducted an interview with pianist and teacher, Giulio Biddau and inserted as part of the thesis (5.1.4) and of the website as well.