Thesis (Ph. D.)--Ohio State University, 2003. / Document formatted into pages; contains xiv, 207 p. Includes bibliographical references (p. 188-207). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2008 Aug. 18.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Oct. 10, 2007). PDF text: iv, 70 p. : music. UMI publication number: AAT 3262189. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--University of Rochester, 1963. / Bibliography: leaf 310. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/2232

Thesis (M.M.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 180-183).

Thesis (D.M.A.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 84-85).

Music for Children op. 65, containing twelve entitled pieces, was composed by S. Prokofiev in 1935 with clearly pedagogical purpose. The styles of the pieces cover the five main categories (or ¡§lines¡¨, as the composer called) of Prokofiev music, including the classical, the modern, the toccata, the lyrical, and the grotesque. The musical content of each piece correlates with its title, and also provides picturesque imagination vividly by employing different piano techniques, such as scales, arpeggios, broken chords, leaps, hand-crossing, contrapuntal texture, legato, staccato, portato, and tenuto. Performers learn to use these techniques to create the musical scenes and profundity. It is helpful to performers to extend their musical sensation and the ability of expression. While exploring the connection between techniques and musical interpretation, this research will combine the piano technique theory of Gyorgy Sandor to provide more specific suggestions of piano playing. This thesis is divided into three chapters except the preface and the conclusion. The first chapter presents briefly the life of Prokofiev and his characteristic style. The second chapter discusses the background of Music for Children, and analyzes the formal structures and compositional traits of the twelve pieces. Based on the five unique musical elements of Prokofiev and Sandor¡¦s theory, the third chapter researches the pedagogical value of both technique concept and musical inspiration from Music for Children.

Thesis (M.M.)--Boston University. A thesis presented to the faculty of the School of Fine and Applied Arts, Boston University, in partial fulfillment of the requirements for the degree Master of Music, May 1963.

The influence of existing musical trends is evident in almost every composer. Prokofiev entered the musical scene in Russia when Scriabin was the recognized leader in innovation. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev. In the latter half of the nineteenth century there began a movement toward nationalism in music. Among the most important of these nationalistic countries were Bohemia and Russia. Composers deliberately drew their inspiration from the musical resources of their native country. From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian opera and in the beginning of the nineteenth century, French opera. Pianists such as Field, Mayer and von Henselt were popular as both teachers and performers.

Creative Thesis; Screenplay

Thesis (M. Mus.)--University of Wisconsin--Madison, 1944. / Typescript. Title from title screen (viewed Feb. 21, 2007). Includes bibliographical references (leaves 84-85). Online version of the print original.