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This thesis explores the use of modified Schenkerian analysis and how it relates to a feminine narrative in a piece of music. In music theory literature about music by women, Schenkerian analysis is a tool that is often ignored; some scholars claim that the goal-oriented nature of Schenkerian analysis prevents it from being an effective tool to analyze music that doesn’t adhere to traditional tonal models, including modern works by women composers. In this study, it was found that modifying the Urlinie and Bassbrechung to reflect salience rather than a traditional harmonic structure allowed for the tool to actually reveal a lot about the underlying narratives in the music. The case studies include Genesis II (Janika Vandervelde), Missa Gaia; Mass for the Earth (Libby Larsen), and “Music Box” (Cynthia Folio).

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (p. 258-261).

by Fung Wai Man Eric. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 114-119). / Chapter 1 --- INTRODUCTION --- p.1 / Chapter 2 --- SCHENKER'S VIEWS ON PERFORMANCE --- p.9 / Chapter 3 --- SCHENKERIAN ANALYSIS APPLIED TO PERFORMANCE --- p.32 / Chapter 4 --- THE FIRST MOVEMENT OF CHOPIN'S B MINOR SONATA --- p.70 / CONCLUSION --- p.109 / BIBLIOGRAPHY --- p.114 / APPENDIXES --- p.120

Thesis (Ph. D.)--Open University. BLDSC no. DX180682.

System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 47-53).

Thesis (Ph.D.)--University of Washington, 1998. / Vita. Includes bibliographic references (leaves [144]-146).

Thesis (Ph.D.)--Yale University, 1981. / Bibliography: leaves 278-280.

This thesis focuses on the relationship between piano performance and Schenkerian analysis. Schenkerian analysis was designed initially as a practical guide for performers. In the different levels of a Schenkerian graph, we can see “musical forces” which lead the performer to deeply understand music itself. Using Schenkerian notation to highlight certain notes helps us to recognize lines behind the surface of the music that give certain passages coherence. This study concentrates on Chopin’s mastery of counterpoint and voice leading which leads me into the relationship of analysis and performance, typically by using the Schenkerian method. My examples will include a variety of pieces by both Chopin and Mozart, to show in what ways the Schenkerian analysis both highlights similarities and makes distinctions between composers and genres.

Although many biographical studies are available on Jacques Ibert, few contain significant analytical commentary. In this study I examine three movements from Ibert’s Histoires for piano which was composed between 1920 and 1921 and was premiered in 1923. The three movements are “La menuese de tortues d’or,” “Le petit âne blanc,” and “La marchande d’eau fraîche.” I primarily use Schenkerian analysis to identify characteristics of Ibert’s compositional language. Significant aspects of impressionism and Debussian influence are also identified as related elements to my analysis. Many expected elements of Schenkerian theory are absent in Histoires. The conclusions of this study are consistent with those of other analysts who apply Schenkerian methodology to impressionist music such as Richard Parks, Adele Katz, Felix Salzer, and Edward Laufer.