Études was composed as a set of five interrelated movements in the followingorder: Prelude, Introduction and Fugue, Triptych, Chorale, and Response. The pieces are compositional as well as technical studies. The movements specifically explore certain styles and forms unique to organ music, and reintroduce these elements in creative ways. As in the traditional étude, each movement contains virtuosic technical studies, which are designed to enhance manual and pedal facility and prepare the performer for advanced repertoire.

The Twenty-Four Preludes and Fugues of Rodion Shchedrin is the magnum opus of perhaps the most respected living Russian composer, whose music is virtually unknown in the United States. Inspired by J. S. Bach and following in the footsteps of Dmitri Shostakovich, Shchedrin produced this impressive and original cycle for solo piano. It was written during the span of about six years, from 1964 to 1970. Since then, most of the preludes and fugues have become popular among students and pedagogues in Russian colleges and conservatories. The purpose of this monograph is to introduce this commendable work in the United States and to provide comprehensive structural analysis with performance suggestions and pedagogic overview. For each Prelude and Fugue, this monograph provides clear structural tables, which summarize form, compositional techniques, and rhythmic, textural, and polyphonic organization. In addition it provides performance and pedagogic evaluation of the entire cycle, with short discussions of each prelude and fugue. This monograph begins with a biographic overview of the composer, including a discussion of general aspects of his style, with information about Shchedrin's formal music education in Soviet Russia and influences that helped form his musical language. It also provides an historical context for Shchedrin's cycle, citing precedents for his work. With the growing popularity of Rodion Shchedrin's music outside of Russia, this monograph will be a valuable resource for musicians who are interested in teaching, performing, or studying selected Preludes and Fugues from his cycle. / Music Performance

abstract: The core element of this research paper is an analysis of the B-flat minor prelude and fugue BWV 867. The author’s analysis is then compared with the main contributors to Bach’s analytical studies. An understanding of the work’s structure, together with its motivic and harmonic details, help the performer develop an interpretive approach to the work. Significant Bach scholars, including David Ledbetter and Peter Williams, are used as the source for the additional works to be studied. These scholars also mention close associates of Bach who offer additional insight into his music: Kirnberger and Weiss. The paper includes a brief discussion of the opening chorus fugue BWV 64, instrumental prelude to the cantata BWV 106, chorale prelude BWV 721, and Tombeau sur la Mort de Mr Comte de Logy by Weiss, as they relate to the B-flat minor prelude and fugue. In addition, the analysis provides materials on how the elements of the work relate to the Doctrine of Affections. From the B-flat minor prelude and fugue, the harmonic progressions and figuration are examined from the point of view of the Doctrine. The research also examines the fugue subject, with its unusual leap of a minor 9th, to its structural connection to the opening chorus fugue of BWV 64, and its ties to the Doctrine. Through the analysis of the B-flat minor prelude and fugue and a comparison to works by Bach that are stylistically connected to this work, the author offers insights into the music and its relationship to works that have a sacred text association. / Dissertation/Thesis / Doctoral Dissertation Music 2020

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