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Prokofiev's Romeo and Juliet history of a compromise /Wilson, Deborah A., January 1900 (has links)
Thesis (Ph. D.)--Ohio State University, 2003. / Document formatted into pages; contains xiv, 207 p. Includes bibliographical references (p. 188-207). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2008 Aug. 18.
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Visions fugitives, opus 22 insights into Sergei Prokofiev's compositional vision /Moellering, Steven. January 1900 (has links)
Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Oct. 10, 2007). PDF text: iv, 70 p. : music. UMI publication number: AAT 3262189. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Multidisciplinary performance issues in Sergei Prokofiev's TrapèzeHowell, Chelsea Gayle, January 2007 (has links)
Thesis (D.M.A.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 84-85).
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The songs and song cycles of Sergey Prokofiev (1930--1950) /Joukova Eugenia E. January 2007 (has links)
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.
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Sergey Prokofiev’s Complete Solo Cello Repertory: The Compositional History and Performance GuideTseng, Li-Han Eliza 11 June 2019 (has links)
No description available.
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An Analytical Perspective of the Developing Aesthetic Concepts in Sergey Prokofiev's Choses en soi, Op. 45Liu, Tzu-Yi 12 1900 (has links)
The purpose of this study is to analyze the compositional techniques in Choses en soi op.45, by Sergey Prokofiev, and to explore the new aesthetic concepts he claimed to include in this composition. Through the examination of the compositional elements and discussion of its salient characteristics.
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Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G MinorYan, Jishuang 05 1900 (has links)
Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to evaluate his essential self-characterization shift in his compositional style, the so-called "five lines."
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