The early polystylism of Alfred Schnittke demonstrates a gradual movement away from strict serialism towards a more mimetic music of quotations, allusions, aleatoric techniques, and tonal styles. This thesis investigates three pieces from 1968: film music for The Glass Harmonica, Serenade for Five Musicians, and Violin Sonata No. 2, Quasi Una Sonata. The first piece is analyzed as a clash of two ideas, the transcendent and the grotesque, which are exhibited in the music’s allusions to J. S. Bach and the presence of twentieth-century aleatory and atonality. The various technical features of Serenade and Violin Sonata No. 2 show the importance of dodecaphony and motivic atonality as unifying procedures. Temporal and pitch indeterminacy are also prevalent but it is perhaps the fleeting tonal references that hint at how important appropriation of older styles would be for Schnittke’s later music.

Russian-born American composer, Lera Auerbach (b. 1973), is a pianist and composer with a growing reputation. She has written nearly a dozen works for solo piano in addition to ballets, operas, chamber works, and other solo instrumentations. Her solo piano work 24 Preludes for Piano, op. 41 (1998) is the first of three prelude sets she has written; op. 41 is scored for solo piano, op. 46 is composed for violin and piano, and op. 47 is written for cello and piano. Throughout her works, Auerbach's compositional language is intuitively polystylistic, tonally centered, and couched in traditional forms. In her 24 Preludes for Piano, op. 41, Auerbach creates a polystylistic and motivically cohesive large-scale work of the individual preludes. In this document, three aspects of the 24 Preludes for Piano, op. 41 are discussed in two parts: form, most significant polystylistic influences, and most prominent motivic connections. The first part of the document investigates two aspects: the form of each prelude and several polystylistic influences. Auerbach uses form to give each short prelude structure; ABA and Arch forms are most often used. Each of the preludes demonstrates different polystylistic elements; she refers to various genres such as the ricercar and chorale prelude as well as various techniques including stretto and additive rhythms. Additionally, Auerbach pays polystylistic homage to different composers including Bartók, Debussy, Mussorgsky, Purcell, Ravel and others. The second part of the document demonstrates several of the underlying motivic connections that unify the collection. The cohesion is created through self-referencing motivic connections that are best heard when the set of twenty-four is performed in its entirety. Auerbach's series of polystylistic miniatures is also an organically unified large-scale work.

This thesis is a culmination of a two-year master program called Contemporary Performance and Composition (CoPeCo). For my final project I composed a chamber opera (“opera in miniature” as I like to call it) "Raport o stanie planety" ('Planet Report') for four solo voices and ensemble consisting of nine musicians. The main purposes of this thesis are to analyze the compositional techniques I used in that piece, problematize my artistic ideas, as well as put them in a context of other works.

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Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.

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Polystylism and Collage in Czech Music in the Second Half of the 20th Century by Robert Škarda Key words: czech music, collage, polystylism, postmodernism, quotation, style contraposition, team composition The topic of my thesis Polystylism and Collage in Czech Music in the Second Half of the 20th Century is the area of Czech composers' works based mainly on style contraposition, stylization of historical or jazz music and usage of quotations. My work is based on assumption of historicity of musical terminology. I consider the notions polystylism and collage as period musical terms and I attempt to reconstruct their meaning. Time definition of the thesis is delimited by the years 1960 and 2000. Lower time limit is selected regarding to nature of the topic - the 60s are the period when works and reflections belonging to the context of the notions polystylism and collage first appeared. The first part of my thesis focuses on the general mapping of the topic polystylism and collage. I summarized relevant musicology literature and I dealed with historical and teoretical relations of polystylism and collage to related terms (first of all postmodernism, montage and style), I was concerned with the context of European and American music and with question of polystylism and collage in Czech popular music....

Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variations reach outside of Classical music, even adopting elements from salsa and friska. The spectrum of composers and styles included in this set are so radical and shocking that it creates a parody of not only Paganini's theme, but also the tradition of theme and variation pieces it has inspired. Due to its multiple variations juxtaposing extremely different styles, Hamelin's Variations on a Theme of Paganini presents the listener with a musical puzzle that is designed to invoke surprise. The juxtapositions of extremely different styles in these variations create disjointed variations with polystylism. The polystylism in this work diversifies his variations, while unifying these seemingly unbalanced movements through broad musical references. As such, both performers and listeners stand to benefit from a detailed, critical examination of the piece. I consider not just the musical sources themselves, but also the ways in which they interact, paying close attention to Hamelin's use of parody and humor.