Thesis--University of Maryland. / Vita. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1978. -- 22 cm. Includes bibliographical references (leaves 195-202).

Thesis (Ph. D.)--University of Washington, 1985. / Vita. Includes bibliographical references (leaves [286]-291).

Diss.--Paderborn, 1996. / Bibliogr. (t.2) p. 127-164.

The goal of this dissertation is not only to introduce the unique cadenza by Alkan but also to offer an argument from the performer’s point of view, for why Alkan’s cadenza should be considered when there exists a cadenza by Beethoven himself, not to mention those by a number of other composers, both contemporaries of Beethoven and later. Information in reference to the brief history of the cadenza and the pianoforte in the time of Mozart and Beethoven is presented in Chapter 2. A brief bibliography about Alkan is presented in Chapter 3. Chapter 4 describes not only the cadenza in the era of Alkan, but also a comparison which is presented between Beethoven and Alkan's cadenzas. Examples of the keyboard range, dynamic contrast, use of pedal and alternating notes or octaves, and creative quote are presented in Chapter 4. In conclusion, the revival of Alkan's cadenza is mentioned, and the author's hope to promote the Alkan's cadenza is presented in Chapter 5.

­^¤å´£­n¡R Variation technique has always been one of the way of composing used by composers both in eastern and western music. During Beethoven's creative time, he worked on variation both technique and musical form frequently. Before 1800, he composed pieces based on variation technique for keyboard including 12 piano variations, few chambers and piano duets. After 1800, he started using variation more intensively. The pieces he wrote include in chambers, concertos and symphonies. Until 1815, the technique of variations became character on the late period of Beethoven. In this thesis, The definition of variation will be introduced first. The historical background of variation will be discussed from Middle age to Classic period. Before 1823, the types of variation can be differentiated as the independent variations and variation movements in large works. And the technique could be divided into four types which are ostinato variations¡Bcantus-firmus variations¡Bfixed-harmony variations and melodic variations with fixed harmony. And the form of variation can be divided into three types which are strophic variations¡Bhybrid variations and genre variations. Then, three string Quartets from different periods¡Bsymphony No.3 and some piano variations will be discussed from the point of view of Beethoven's variation technique. And 5 pieces from piano sonatas of Beethoven's works-- Op.14 No.2 II movement, Op.26 I movement, Op.57 II movement, Op.109 III movement, and Op.111 II movement-- will be described in detail on the background of composing and form analyzing. Finally, conclusion will be given. By adding variation movements to classic sonatas, Beethoven experienced the new technique of variation, and made these 5 sonatas much more unique and with variety.

Diss.--Phil.-Fak.--Bonn--Friedrich-Wilhelms-Univ., 1999. / Bibliogr. p. 421-430. Index.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 81-83). Available also in a digital version from Dissertation Abstracts.

Treatise (D.M.A.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.A.)--University of Rochester, 1986. / Typescript (Photocopy). Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1522

Diss.--Berlin, 1994. / Bibliogr. p. 527-552. Index.