Thesis (Ph. D.)--University of Chicago, 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0429. Adviser: William Kinderman. Includes bibliographical references (leaves 153-157) Available on microfilm from Pro Quest Information and Learning.

The influence of existing musical trends is evident in almost every composer. Prokofiev entered the musical scene in Russia when Scriabin was the recognized leader in innovation. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev. In the latter half of the nineteenth century there began a movement toward nationalism in music. Among the most important of these nationalistic countries were Bohemia and Russia. Composers deliberately drew their inspiration from the musical resources of their native country. From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian opera and in the beginning of the nineteenth century, French opera. Pianists such as Field, Mayer and von Henselt were popular as both teachers and performers.

Yau, Oi Suet. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 170-178). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction / Chapter I. --- Introduction --- p.1 / Chapter II. --- Literature Review --- p.2 / Chapter III. --- Methodology --- p.7 / Chapter IV. --- Thesis Structure --- p.10 / Chapter Chapter 2 --- "Background, Children and Music Education" / Chapter I. --- General Historical Background --- p.12 / Chapter II. --- "Children, Music Education and the Soviet Union" --- p.22 / Chapter Chapter 3 --- Prokofiev and his Children's works in the 1930s / Chapter I. --- Prokofiev's Return to the Soviet Union --- p.36 / Chapter II. --- Prokofiev's Children's Works in the 1930s / Music for Children (Op. 65) --- p.43 / Summer Day (Op. 65b) --- p.53 / Peter and the Wolf [Op. 67) --- p.58 / Three Children's Songs for Voice and Piano (Op. 68) --- p.76 / Chapter Chapter 4 --- "War Years, Stalin Prize and Radio Committee" / Chapter I. --- Historical Background --- p.89 / Chapter II. --- The Awards for Cultural Intelligentsia- Honorary Titles and Stalin Prize --- p.101 / Chapter III. --- All-Union Radio Committee --- p.103 / Chapter Chapter 5 --- Prokofiev and His Later Children's Works / Chapter I. --- Prokofiev's Late Years --- p.107 / Chapter II. --- Prokofiev's Later Children's Works / Winter Bonfire (Op. 122) --- p.109 / On Guard for Peace (Op. 124) --- p.121 / Seventh Symphony (Op. 131) --- p.139 / Chapter Chapter 6 --- Conclusion --- p.153 / Appendix --- p.159 / Bibliography --- p.170

Shortly after returning to Moscow in 1936, Prokofiev composed his first Soviet opera, Semyon Kotko (Opus 81). The libretto was taken from Valentin Kataev's novel I am a Son of the Working People, a tale of revolution and war in a small Ukrainian village and one that adheres to the tenets of Socialist Realism. Kataev encouraged Prokofiev to set this text in a highly conservative song style. Prokofiev was also influenced in the project by Vsevolod Meyerhold, an innovative artist who advocated using continuous declamation as a means of achieving "dramatic truth" in music. / This essay examines the extent to which Semyon Kotko can be considered a conformist opera. Part One is a survey of Socialist Realism and its manifestation in Soviet literature and music during the 1930's; Parts Two and Three examine the text and music of Semyon Kotko as representative of the doctrine. Consideration is given throughout the study to the opposing influences of Kataev and Meyerhold on Prokofiev, and to the political events surrounding the opera's composition.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 25, 2001, Nov. 18, 2002, Mar. 21, 2005, and Feb. 20, 2006. Includes bibliographical references (p. 44-48).

No description available.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

The purpose of this thesis is to give a descriptive look at modern Russian music, specifically the early piano sonatas of Russian composer Sergei Prokofiev, with focus on style and style influences.

Sergei Prokofiev's A Love for Three Oranges is the operatic version of a 16th - century Italian fable with a French libretto written in the Russian 20th-century modernist style for an American audience. The opera's problematic reception at its premiere is not altogether surprising, but the reasons for its lack of early critical success merit closer inspection. American audiences did not yet have the grounding in the techniques of modernism then being employed by European composers at the time Oranges was premiered in 1921, nor did they understand the commedia dell 'arte traditions of the story and its stock characters. The musical language Prokofiev chose for his opera was also largely misunderstood by its first audiences. The dramatically logical, declamatory melodies were interpreted as altogether unmelodic and the "lack of singable tunes" was taken as a mark of insubstantiality. The considerable number of themes and motives employed to progress the plot are not subjected to extensive development and in many cases are repeated only rarely. Initially, it can be difficult to hear the subtle connections interwoven among the associative material, and as the opera was given only two performances during its premiere run, many critics and connoisseurs were unable to discern Prokofiev's sophisticated compositional ideal. This thesis attempts to assess Prokofiev's theory of opera as a dramatically logical entity and the level of success with which he manifested that theory in A Love for Three Oranges. In addition, the reasons for its lack of popular success will be addressed and analyzed.