Thesis (doctoral)--Eberhard-Karls-Universität zu Tübingen, 1984.

Mozart composed his D Major Sonata, K. 311 in 1777 when he was twenty-one years old. He seemed to have hit his stride as a composer of keyboard sonatas, assimilating into this piece artistically fulfilling juxtapositions of brilliant virtuosity and subdued lyricism, humor and heartfelt expression. The first movement begins in a spirited manner, then gives way to a lyrical second theme. As the movement draws to a close in pure joy, the contrast of the pleasant and soothing second movement is all the more striking���Mozart���s niche as an opera composer proves evident by the beautiful singing melodic line. The third movement rounds out the sonata, providing yet another contrast in mood; a humorous character is implied by sudden changes in dynamics, stops and starts, and musical surprises. Mozart incorporates aspects of symphonic composition with a concerto-like lead in before the return of the theme. <br>Composer Nancy Galbraith provided her own program notes for her Piano Sonata No. 1. ���Piano Sonata No. 1��� begins with an animated Fugue, a restless internal dialog that twists and turns to triumphant resolve. The nearly motionless Religioso lingers in still, prayerful meditation, slowly arcs to an anguished ���miserere���, then comes to rest in an emotionally spent, yet peaceful surrender. Allegro begins and ends in jubilant song and dance surrounding a serene, dreamy landscape. <br>The syncopated Fugue subject of movement I is treated in a traditional manner in the opening and is transformed into a more lyrical statement in the development. The movement closes with a dramatic statement of the subject in octaves in the low register. Movement II begins with a simple chant-like melody, which gradually becomes more intense and is finally stated with large cluster chords. The movement ends peacefully as it began. The sonata closes with a perpetual motion movement III, which makes use of minimalistic techniques. <br>���Jeux d���eau��� by Maurice Ravel translates to ���fountains,��� or ���water games.��� Ravel composed the piece when he was a student of Gabriel Faur��, to whom the piece is dedicated. Ravel explained his piece in the following way: ���Jeux d���eau, appearing in 1901, is at the origin of the pianistic novelties which one would notice in my work. This piece, inspired by the noise of the water and by the musical sounds which make one hear the sprays, the cascades, the brooks, is based on two motives in the manner of a sonata��� without, however, subjecting itself to the classical tonal plan.��� Ravel included an inscription on the top of his manuscript of a quote by Henri de R��gnier from his Cit�� des eaux: ���Dieu fluvial riant de l���eau qui le chatouille������ which translates to ���River god laughing as the water tickles him������ <br>The pianist must create the illusion of waterfalls, water sprays, calm puddles, and exciting water movement. From scintillating, pianissimo arpeggios to brilliant fortissimo glissandos, Ravel utilizes the entire keyboard to evoke a myriad of water images. Rachmaninoff was only 23 when he composed his B Minor Moment musical, Op. 16, No. 3 in 1896, but even so early in his life, he had established his compositional voice. He composed his G Minor Etude-tableau, Op. 33, No. 7 in 1911, and premiered the set later that year. The Moment musical possesses a dark mood, in the character of a funeral march. He coined the title, ���picture etudes,��� (etudes-tableaux) although the concept was not original; he most likely drew inspiration from the Transcendental Etudes of Liszt and the Symphonic Etudes of Schumann. Each etude suggests a picture, an extramusical idea, in addition to a pianistic problem it presents in the tradition of the etude. He said of his inspiration, ���in the process of creating music, I am greatly aided by the books or poems I have read as well as by superb paintings. I often try to express a definite idea or event in my work without referring to the direct source of the inspiration.��� Rachmaninoff did not share with his performers the imagery the pieces were meant to conjure. He stated, ���I do not believe in the artist disclosing too much of his images. Let them paint for themselves what it most suggests.��� <br>Bach���s original partita in E Major for solo violin serves as a staple in the violin repertoire, so it seems logical that Rachmaninoff heard the piece performed by his touring recital partner, violinist Fritz Kreisler. Rachmaninoff created transcriptions not only to increase his own concert repertoire, but also to serve as a preliminary exercise to foster creativity for other compositional projects. Some of his transcriptions are faithful to the original score, some contain considerable embellishments, and others use the original score as merely a guide. In this piece, Rachmaninoff chose three of the movements of <br>Bach���s partita and crafted them beautifully for piano, remaining faithful to Bach���s original intent while weaving in his own counterpoint, melodic lines, and rich, colorful harmonies. He captures the pure essence of Bach while adding just the right amount of his own compositional voice: ���Rach-ing���out. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Johann Sebastian Bach is considered the foremost organist and composer of organ music of his time. His vast knowledge of the instrument and his ability to reveal the organ?s brilliance were unparalleled, taking the organ to its peak in the Baroque era. Bach perfected many musical styles and forms of the day, and also became well-known for his improvisational skills. However, by the end of Bach?s life, the styles and forms began to change. The forms Bach knew so well slowly gave way to new ideas, signaling the beginning of what music historians label the ?Classical? period. It was during this time that the popularity of the organ began to decline. Bach?s children left behind their father?s musical styles to try new, emerging styles. Although several did continue to compose for the organ, they composed mainly for other keyboard instruments or orchestras. In the middle of the eighteenth century, the Enlightenment changed not only the role of the church, but also people?s view of the church as well. Liturgical changes were made and the organ was viewed as part of the old style. Orchestras replaced the organ and, for the most part, organists either improvised or took a step back from their duties. However, the decline of organ music in the classical period did not equate to its complete disappearance. Bach?s compositions lost favor with the general public after his death, and his successors were left to carry on his legacy and the art of the organ. While Bach?s contributions to the organ world are vast and well-documented, the works of his successors are less familiar. This thesis will focus primarily on the organ repertoire of Bach?s successors during the period of change, the Pre-Classical period. The contributions of Bach?s best-known pupil, Johann Krebs, have been well documented, and research on Krebs is the starting point for this thesis. Research on Bach?s children and his other pupils is available, but one would be hard-pressed to find more than one or two articles of any length on their individual contributions. This thesis will attempt to combine the research on Bach?s sons and students, and reveal their contributions to organ literature as a bridge between Baroque and Classical periods. The first chapter will discuss Bach?s keyboard contributions, as well as styles prevalent in the Pre-Classical period. The second through fourth chapters will discuss Bach?s sons ? Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christian, respectively. The fifth and sixth chapters will include Johann Ludwig Krebs and Bach?s last two pupils. Research for this thesis primarily relies on books and scholarly articles about the Bach family and organ literature of the time period. Databases such as JStor, WorldCat, and the New Grove Dictionary of Music and Musicians have been used to locate articles and recent findings. Research on this particular subject is not adequately covered in English. Most are written in Bach?s native language, German, with very few translated into the English language. This thesis covers both German and English articles, books, and journals on the topic.

This thesis examines the dialogue between Carl Friedrich Zelter (1758-1832) and Johann Wolfgang von Goethe (1749-1832) on choral music and the role they envisioned for it within a national German repertory. The primary source for this examination is the voluminous correspondence between the two men, which spans almost 900 letters and over thirty years. In the correspondence, they discuss choral music both as an abstract and practical art. In addition, Zelter’s descriptions of concerts that he performed in and attended form a valuable record of musical life in Berlin in the early nineteenth-century. To show the importance of choral music within the correspondence, this thesis is divided into three parts: an examination of Zelter and Goethe’s engagement with (choral) music; their respective choral organizations; and two musical case studies that show the application of their discussions. The first segment allows for a fuller understanding of how choral music fit in Zelter and Goethe’s larger artistic endeavours. This context is especially important given their marginal musical legacies, which have contributed to the scholarly neglect of their discourse on choral music. The second segment examines Zelter’s work with the Berlin Sing-Akademie in detail, focussing on its performance practice, membership, and audience. This examination shows that contrary to the oft-repeated claim that the Sing-Akademie did not regularly perform in public until 1829, the chorus in fact sang for a wide audience on a regular basis from the early 1800s on. The third segment provides case studies on the music of J.S. Bach and G.F. Handel. Goethe and Zelter’s dialogue about the two composers is considered, along with their practical engagement with the repertoire. Further, the Sing-Akademie’s performance history of both composers is examined. In sum, this thesis demonstrates the central role of historical choral music in the correspondence of Goethe and Zelter; their interest in older German choral music is shown to have had a profound impact on the music performed by similar organizations across Germany.

This thesis examines the dialogue between Carl Friedrich Zelter (1758-1832) and Johann Wolfgang von Goethe (1749-1832) on choral music and the role they envisioned for it within a national German repertory. The primary source for this examination is the voluminous correspondence between the two men, which spans almost 900 letters and over thirty years. In the correspondence, they discuss choral music both as an abstract and practical art. In addition, Zelter’s descriptions of concerts that he performed in and attended form a valuable record of musical life in Berlin in the early nineteenth-century. To show the importance of choral music within the correspondence, this thesis is divided into three parts: an examination of Zelter and Goethe’s engagement with (choral) music; their respective choral organizations; and two musical case studies that show the application of their discussions. The first segment allows for a fuller understanding of how choral music fit in Zelter and Goethe’s larger artistic endeavours. This context is especially important given their marginal musical legacies, which have contributed to the scholarly neglect of their discourse on choral music. The second segment examines Zelter’s work with the Berlin Sing-Akademie in detail, focussing on its performance practice, membership, and audience. This examination shows that contrary to the oft-repeated claim that the Sing-Akademie did not regularly perform in public until 1829, the chorus in fact sang for a wide audience on a regular basis from the early 1800s on. The third segment provides case studies on the music of J.S. Bach and G.F. Handel. Goethe and Zelter’s dialogue about the two composers is considered, along with their practical engagement with the repertoire. Further, the Sing-Akademie’s performance history of both composers is examined. In sum, this thesis demonstrates the central role of historical choral music in the correspondence of Goethe and Zelter; their interest in older German choral music is shown to have had a profound impact on the music performed by similar organizations across Germany.

Thèse pour le doctorat--Musicologie--Tours, 1994. / 2 tomes en 1 vol. Bibliogr. p. 379-388.

Diss.--Berlin--Technische Univ., 1994. / Bibliogr. p. 159-172.

No description available.

Thesis (M.C.S.)--Regent College, 1988. / Abstract. Vita. Includes bibliographical references (leaves 124-128).

Thesis (M.Mus. 1978) from the Department of Music, University of Adelaide.