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Baroque Elements In The Piano Sonata, Opus 9 By Paul Creston

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.

Identiferoai:union.ndltd.org:unt.edu/info:ark/67531/metadc103407
Date12 1900
CreatorsWatanabe, Chie
ContributorsRomero, Gustavo, Puccinelli, Elvia L., Paul, Pamela Mia
PublisherUniversity of North Texas
Source SetsUniversity of North Texas
LanguageEnglish
Detected LanguageEnglish
TypeThesis or Dissertation
FormatText
RightsPublic, Watanabe, Chie, Copyright, Copyright is held by the author, unless otherwise noted. All rights Reserved.
RelationLecture recital: April 25, 2011, ark:/67531/metadc89337

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