Paul Creston (1906-1985) was one of the most significant American composers from the middle of the twentieth century. Though Creston maintained elements of the nineteenth-century Romantic tradition and was categorized as a “Neo-Romantic” or “20th-century traditionalist,” many of Creston’s compositions contain elements of Baroque music. His Piano Sonata, Opus 9 provides significant examples of Baroque elements, while already foreshadowing his mature style. The purpose of this study is to explore Baroque elements in the compositional language of Paul Creston’s Piano Sonata, Opus 9. All four movements of the Piano Sonata will be examined in regards to its stylistic features associated with Baroque practices. These features mainly consist of rhythm, texture, imitative writing, and repeated phrase structure. Each category of the study will include comparisons of Domenico Scarlatti’s keyboard sonatas with Creston’s sonata. Through an examination of the Piano Sonata and its Baroque elements, this study hopes to inspire renewed interest in the work among musicians and to help the performer give a more stylistically coherent, and accurate, performance.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc103407 |
| Date | 12 1900 |
| Creators | Watanabe, Chie |
| Contributors | Romero, Gustavo, Puccinelli, Elvia L., Paul, Pamela Mia |
| Publisher | University of North Texas |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | Text |
| Rights | Public, Watanabe, Chie, Copyright, Copyright is held by the author, unless otherwise noted. All rights Reserved. |
| Relation | Lecture recital: April 25, 2011, ark:/67531/metadc89337 |
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