Thesis--Harvard University. / Photocopy of typescript. Includes bibliography.

Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2000, June 24, 2002, Jan. 24, 2005, and Dec. 1, 2006. Includes bibliographical references (p. 37-38).

Little has been written about Tchaikovsky's Third Symphony, and it is rarely performed. Many of the compositional techniques used in this symphony were also used in Tchaikovsky's later symphonies; in some regards, however, the Third Symphony is atypical (if not unique) in relation to his other symphonies: It contains five movements, its tonic key is major, and it is not programmatic. This thesis presents a comprehensive analysis of the symphony as it unfolds, and this is illustrated with musical examples and analytical figures. An analysis chart of each movement (detailing form and key) is given. Each movement is summarized in terms of sonorities, tonalities, and methods of modulation, thereby providing some insights into the consistency/variety of Tchaikovsky's compositional language in this symphony. It is hoped that this analysis will help to generate interest in this important Tchaikovsky symphony that has, to date, attracted little attention.

This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.