Treatise (D.M.A.)--Florida State University, 2003. / Advisor: James Streem, Florida State University, School of Music. Title and description from treatise home page (viewed 9-23-04). Document formatted into pages; contains 86 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.M.)--University of Rochester, 1942. / Typewritten. Bibliography: p. 70-71. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4536

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by 3 recitals, recorded Aug. 28, 2000, Sept. 17, 2001, and Apr. 19, 2002. Includes bibliographical references (p. 165-169).

Thesis (M.S.)--University of Wisconsin--Madison, 1973. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1942. / Title from title screen (viewed Nov. 15, 2007). Includes bibliographical references. Online version of the print original.

Thesis (D.M.A.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaf 127) and discography (leaves 127-128).

Thesis (M.A.)--University of Wisconsin--Madison, 1942. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Sergei Rachmaninoff was a major composer in the twentieth century and also a great piano virtuoso. With his unique life experience and personality, Rachmaninoff¡¦s music reveals both deep nostalgia mood and Russian style. Variations on a Theme of Corelli, composed in 1931, was Rachmaninoff¡¦s final piano solo work. His writing style and compositional technique have reached maturity in this piece, which is one of the most representative works during his late period. The Corelli Variations were based on the melody from traditional Portugal dance La Folia. Rachmaninoff employed the virtuoso piano techniques and different musical elements to create diversity for each variation. To all pianists, this work definitely is a big challenge . This lecture paper contains two main sections. The first section focuses on the life background and musical style of Rachmaninoff. The second section discusses Corelli variations, including its compositional background, formal structure and variation technique.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Oct. 10, 2007). PDF text: ix, 95 p. : music (col.). UMI publication number: AAT 3258769. Includes bibliographical references. Also available in microfilm and microfiche formats.

This dissertation aims to investigate and provide a conductor with an educational resource guide to Sergei Rachmaninoff's Six Choral Songs for Treble Voices (1895). This project will provide music educators with a comprehensive guide with many of the details that a conductor might need to successfully teach the work, including suggested pedagogical techniques; potential musical challenges and subsequent strategies; gestural conducting; historical and political context surrounding the two different versions of the work's first movement and how a conductor might approach the choice between the two; literal and poetic translations of the texts; and an IPA transcription for the work. Despite the eminence of Rachmaninoff's oeuvre and his objective place in the canon, the rationale for this project stems from the rarity of the work itself, its merit, its accessibility to a wide range of treble ensemble ability levels, and its lack of attention both in performance and academic spheres. This set of choruses is the composer's only contribution to the collection of music for treble ensembles and is part of a relatively minuscule amount of treble choir repertoire composed by early and pre-twentieth-century Russian composers. Op. 15 is also the only work written for choir and piano accompaniment. Performances of the work are also rare, and few recordings exist. Though published in 1895, all sources suggest that the work did not receive its premiere performance until 1973. The choral writing is vastly accessible. Though many challenges and educational opportunities exist throughout the work for ensembles of all levels, this is music that can be performed not only by advanced collegiate and professional choirs, but by developing collegiate ensembles, community choirs, and even high school choirs.