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

Diss.--München, 1988. / Bibliogr. p. 413-423.

Concerto for Piano and Orchestra consists of three movements. The whole work follows a general character of Fast -- Slow -- Fast; but within each movement are sections with contrasting tempi. The performance time approximately eighteen minutes.

Thesis (Ph.D.)--Boston University / The study and analysis of all eight cadenzas written by Ludwig van Beethoven for the first four of his piano concertos, reveals, as much as can be gleaned from this evidence, important information about Beethoven's approach to improvisation. This subject has long eluded investigation due to the paucity of musical and collateral evidence. The analyses of these cadenzas, seven of which are complete, reveal surprising information about the nature of the harmonic plan of the cadenzas, and the choice of thematic material in each section of the cadenza. They also uncover consistencies of pattern and compositional technique that clearly set these cadenzas apart from the late eighteenth-century norms, best exemplified by those of Mozart. Beethoven may have been prompted to commit these cadenzas to paper in 1809 by the fear of piracy, a fact he noted with increased attention, after his retirement from the concert stage 1n 1807. And by 1809 he had already begun study of Carl Philipp Emanuel Bach's Versuch and Daniel Gottlob Turk's Clavierschule in preparation for the anticipated education of the Archduke Rudolph. The keyboard fantasy, an important subject in the writings of both these theorists, had i ts own set of rules and compositional approaches. That Turk drew a connec t ion between the fantasy and the cadenza as similar compositional forms, coupled with the amount of detailed description of the fantasy in Bach's treatise, may have served as an inspiration and perhaps guideline for Beethoven's composition of both the Fantasy, op. 77, and the cadenzas in the same year. Certain stylistic characteristics predominate in the cadenzas: the use of imitation at the outset; the greatest extent of fantasy- like free modulation in the first of the three formal sections; the development of the subsidiary theme in the second section, and the strikingly careful avoidance of a strong dominant prolongation before the actual closing dominant of the cadenza. The cadenzas show an increasing predilection to grow in the direction of compositional, rather than extemporizational planning, a tendency that reaches its zenith in the written-in cadenzas in the Fifth Piano Concerto, the Violin Concerto, and the unfinished Sixth Piano Concerto.

Finger Spirits is a concerto for piano and orchestra. The traditional concerto form of three, large, separate movements is not present here. It is a one-movement work in three continuous sections. Certain premises of the concerto are retained: (1) the interplay of soloists and orchestra; (2) the display of vistuosity; and (3) the use of fixed thematic elements. Throughout the performance, the pianist alternates playing actual notes with gestures used in manual communication and mimetic elaborations created by the composer. The gestures delineate shapes of particular objects and depict emotions that are present in the work as it unfolds. Finger Spirits explores the act of performance and alters the traditional concert ritual of audience-performer opposition. In addition, it incorporates gestures as an extension of the role of the pianist and thus represents a form of music theater.

Except for a group of three songs, the two piano concertos were the last things Ravel wrote. They have been said to be the culmination of Ravel's style; and, since they were written simultaneously, much attention has been drawn to a comparison of the two, particularly with emphasis on their divergent features. It is the purpose of this paper to show the interesting circumstances under which these concertos came to exist, to acknowledge the differences recognized by authors and critics, and to point out some important ways in which these concertos are similar to each other.

The lecture recital was given on August 12, 1981. The discussion of Glick's i never saw another butterfly consisted of an analysis of the four songs followed by their performance. In addition to the lecture recital, four other public recitals were given; three of solo literature for voice and piano and one of vocal chamber literature.

Every pianist at one time or another hopes to study and perform at least one piano concerto. In addition to the pleasure which will be derived from the study and performance, the student's musical growth will be greatly enhanced. In this survey and study of the general development of the piano solo concerto, the goal is to broaden the understanding of what the concerto is and what it means.

Diss.--Regensburg, 1999. / Bibliogr. p. 355-382.

Thesis (D.M.A)--University of Maryland, College Park, 2005. / Compact discs.