Thesis (B.A.)--Butler University, 1998. / Includes bibliographical references.

Thesis (Ph. D.)--Cornell University, 1978. / Includes bibliographical references (leaves 142-152).

Thesis (D.M.A.)--University of Nebraska-Lincoln, 2010. / Title from title screen (site viewed July 8, 2010). PDF text: iv, 115 p. : music ; 5 Mb. UMI publication number: AAT 3398399. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Humanities, School of Music, 1987.

Thesis (M. Mus.)--University of Wisconsin--Madison, 1944. / Typescript. Title from title screen (viewed Feb. 21, 2007). Includes bibliographical references (leaves 84-85). Online version of the print original.

Dmitry Shostakovich was an important Russia composer and pianist in the 20th century. In compare the quantity of his complete outputs, the numbers of the solo piano pieces was a small amount, but the use of the piano instrument occupies a major part within his compositions. For instance, Shostakovich employs piano in his symphonies, nos. 1, 5, and 7. Moreover, he also wrote many chamber music works with piano, and two piano concertos. The study of the lecture recital document focus on the discussion of Shostakovich early piano composition, Twenty-Four Preludes, op. 34, written between 1932 and 1933. In addition to the introduction, the discussion includes: the historical background of Russian music of early and middle twentieth century, the life of Shostakovich, the brief of the development of the prelude, the writing techniques, performance techniques, and the interpretation of Twenty-Four Preludes. Twenty-Four Preludes does not only present the previous traditions of stylistic features, but also permeated with the spirit of innovation.

The revisionist view of the Soviet Union’s most eminent composer, Shostakovich has been dominant in the American and British press ever since the publication of ex-Soviet journalist Solomon Volkov’s Testimony: The Memoirs of Dmitri Shostakovich as related and edited by Solomon Volkov in 1979. This pre-glasnost book proved to be the opportunity for music journalists to polish up their image of Shostakovich as a closet dissident who had been secretly laughing up his sleeve at the Soviet regime since 1932. This thesis suggests that Solomon Volkov faked the writing of Testimony and claiming that the book was the ‘memoirs of Dmitri Shostakovich’ was dubious at best. A favourite theme of revisionist writers is the perceived relationship between Shostakovich and Stalin. This thesis reveals that there was little interaction between the two despite the wild fantasies of revisionist writers and film makers. The infamous anonymous 1936 Pravda editorial ‘Muddle Instead of Music’ has been the subject of speculation ever since it was written. In the appendix of this thesis is a translation of ‘Mysteries of Lady Macbeth’ a chapter of Leonid Maksimenkov’s Muddle Instead of Music: Stalin’s Cultural Revolution 1936-1938. Archival evidence in this chapter reveals that the Pravda editorial was a product of internal Communist Party rivalry between the Cultural Education Board and the newly-formed Arts Committee. Stalin played no part in the writing of the editorial at all. This explodes many myths that have circulated since 1936 about ‘Muddle Instead of Music’. It seems that Shostakovich was a convenient target selected at random by the ambitious head of the Arts Committee – Platon Kerzhentsev.

Thesis (A.Mus.D.)--University of Arizona, 1996. / Includes bibliographical references (leaves 69-70).