Thesis (Ph. D.)--Columbia University, 1914. / Vita. Published also without thesis note. Bibliographies: p. 359-381.

Thesis (Ph. D.)--Columbia University, 1914. / Vita. Published also without thesis note. Bibliographies: p. 359-381.

Frederic Francois Chopin was the first composer to write a Ballade as an instrumental musical work. From 1831 to 1843 he wrote a total of four Ballades. This study primarily discusses Chopin's use of contrast in the Ballade in G minor, opus 23 and in the Ballade in F minor, opus 52. First, it discusses the background of Chopin's life and his composition of the Ballades. Second, it reviews the origin and development of those genres of poetry and music called "ballad" or "ballade" that relate to Chopin's Ballades. Finally, it focuses on the ways that Chopin utilizes contrast in the G minor Ballade and the F minor Ballade, on whether or not the contrasts appear differently in different musical forms, and on allowing the performer to understand the unique kinds of writing in the Ballades. It is hoped that the performer who plays the Ballades, in addition to having the required technical ability, is also able to understand in more depth the content of these Ballades and the ideas they are meant to express.

Thesis (doctoral)--Friedrich Wilhelms-Universität zu Breslau, 1928. / Vita. Includes bibliographical references (p. 128-137).

No description available.

No description available.

Inaug.-Diss.--Münster. / Lebenslauf. "Literaturangabe": 2d p. l.

Nicolai Medtner (1880-1951) is regarded as an accomplished composer and one of the most brilliant pianists of his time. He composed numerous compositions for piano that fall into three main categories: piano solo, piano with voice, and piano chamber music. He composed four large-ensemble pieces, including three concerti and the piano quartet in C major. This essay will concentrate on the lesser-known Piano Concerto No. 3, subtitled "Ballade." This three- movement work is extremely challenging because of its large and complex structure. Gaining a clear understanding of the structure and its formal innovation is paramount for performance success. It is my hope that this essay will contribute to bringing this piece into the standard repertoire. There are four chapters in this essay. In Chapter I, a general discussion of the composer's life and his music will be presented. The background of the concerto will be introduced and the purpose of this essay will be discussed in Chapter II. In Chapter III, a detailed analytical discussion of the structure of the concerto will be presented, in order to clarify the structure and the use of thematic materials. Lastly, practice and interpretative suggestions for this concerto will be discussed in Chapter IV.

Zugl.: Mainz, Univ., Diss., 2003

Thesis (Ph. D.)--Catholic University of America, 1934. / At head of title: The Catholic university of America. Bibliography: p. 132-139.