Sonata no.8 for violin and piano, op.30, no.3 / Ludwig van Beethoven -- Tambourin chinois / Fritz Kreisler -- Violin concerto in D major, op.35 / Piotr Ilyich Tchaikovsky. / text

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The importance of Scriabin in the present day is found in his underlying contribution to the direction of the use of the piano in this century. Scriabin's special performance practices at the keyboard are concurrent with those of such musical giants as Debussy, Rachmaninov and Schoenberg.It appears that one must evaluate not only the piano sonatas but all of Scriabin's works in a new light because in the face of present day multi-media they become experimental works. The piano sonatas in particular are advanced technical works experimenting with "color" and special effects derived from a conventional instrument. With proper performance and understanding, Scriabin's works become unique, not because of outstanding compositional achievement, but because of the beginning of a new concept in the synthesis of the arts. Also, Scriabin's harmonic innovations developed a system of tonality incorporating a new chord construction and concept of sound at the keyboard, so characteristic of the composer that they came to be labeled as the inimitable "Scriabin style."In the last decade, music scholars have finally begun to place Scriabin in a perspective of our modern music and have found him to be a "progenitor" of our present combination of psychedelic color effects with music as well as music's interrelation with mystic-religious influences. / School of Music

This dissertation presents the ten sonatas for harpsichord written by American composer Vincent Persichetti (1915-1987). The research aims to define the specific approach to musical style that Persichetti embraced in these works. The methodology employs an analytical approach to define that style. The introductory chapter places the harpsichord sonatas in the context of Persichetti’s keyboard repertoire and his general musical output and outlines the limited scholarly research available on the topic. The second chapter contains a short biography of the composer and a review of existing literature pertinent to this study. In the third chapter, the ten sonatas are individually analyzed. The concluding chapter summarizes common stylistic traits found in the analyses. It emphasizes the importance of these works for contemporary harpsichordists, denoting Persichetti’s passion for the rediscovered instrument in the last several years of his life. The stylistic elements found in Persichetti’s harpsichord sonatas include the use of classical forms, the preference for contrapuntal craft as exemplified accompanied melody, mirror technique, and complementary rhythms, the amalgamated harmonic language, the frequent use of polychords, the use of dynamic markings as indicators of the registration as well as for musical expression and the use of the full range of the harpsichord. This research references for the first time the composer’s Tenth Harpsichord Sonata, published posthumously in 1994. / School of Music

Thesis (D.M.A.)--University of Rochester, 1964. / Appendix: Facsimile of the original edition. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/2233

Thesis (D.M.A.)--University of Iowa, 2008. / Thesis supervisor: Kenneth Tse. Includes performance editions of : Sonata for E♭ alto saxophone and piano / Dulcie Holland (leaves 74-94) ; Sonata for saxophone & pianoforte / William Lovelock (leaves 95-131) ; Sonata for alto saxophone and piano / Margaret Sutherland (leaves 132-153). Includes bibliographical references (leaves 154-155).

Thesis (D.M.A.)--University of Maryland, College Park, 2006. / For violin and piano. Compact discs; 1st disc on DVD.

Thesis (D.M.A)--University of Maryland, College Park, 2005. / Compact discs.

Thesis (D.M.A)--University of Maryland, College Park, 2005. / Compact discs. Includes bibliographical references.