The Variations for Piano, Op. 27 of Anton Webern and the Quaderno musicale di Annalibera of Luigi Dallapiccola: A Lecture Recital, Together with Four Recitals of Selected Works of J.S. Bach, W.A. Mozart, F. Schubert, R. Schumann, J. Brahms, F. Chopin, A. Schoenberg, and M. Ravel (open access)

The Variations for Piano, Op. 27 of Anton Webern and the Quaderno musicale di Annalibera of Luigi Dallapiccola: A Lecture Recital, Together with Four Recitals of Selected Works of J.S. Bach, W.A. Mozart, F. Schubert, R. Schumann, J. Brahms, F. Chopin, A. Schoenberg, and M. Ravel

The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.
Date: May 1973
Creator: Bell, Digby
System: The UNT Digital Library
Piano Sonata by Elliott Carter: A Foreshadowing of His Later Style, a Lecture Recital, Together with Three Recitals of Selected Works (open access)

Piano Sonata by Elliott Carter: A Foreshadowing of His Later Style, a Lecture Recital, Together with Three Recitals of Selected Works

The lecture recital was given January 22, 1977. A discussion of Elliott Carter's Piano Sonata emphasized those compositional techniques which foreshadowed important compositional procedures in many of his later works. The following compositions were discussed: Concerto for Orchestra, Double Concerto for Harpsichord and Piano with Two Chamber Orchestras, 8 Etudes and a Fantasy for Woodwind Quartet, Holiday Overture, Piano Concerto, Sonata for Flute, Oboe, Cello, and Harpsichord, Sonata for Violoncello and Piano, String Quartet No. 1, String Quartet No. 2, String Quartet No. 3, Variations for Orchestra. The Piano Sonata was Ty and Schumann. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 2, 1973, consisted of works by Bartok, Debussy The second solo recital, performed on October 28, 1974, included works by Bach and Liszt. The final solo recital, performed on March 7, 1976, consisted of works by Beethoven and Chopin. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation. performed.
Date: May 1977
Creator: Wilhite, Carmen Irene
System: The UNT Digital Library
A Comparison of Selected Liszt and Schumann Piano Transcriptions of the Paganini Violin Caprices, a Lecture Recital, Together with Three Recitals of Selected Works of Brahms, Mozart, J.S. Bach, Von Weber, Dukas, Schoenberg, Rachmaninov and Others (open access)

A Comparison of Selected Liszt and Schumann Piano Transcriptions of the Paganini Violin Caprices, a Lecture Recital, Together with Three Recitals of Selected Works of Brahms, Mozart, J.S. Bach, Von Weber, Dukas, Schoenberg, Rachmaninov and Others

The first three recitals included one recital of chamber music and two recitals of solo piano music. The first recital consisted of music for clarinet and piano, performed with Dr. Lee Gibson of the music faculty of North Texas State University. This program included the Mozart Clarinet Concerto, Five Atonal Pieces by William Latham, Sonata in F minor by Johannes Brahms, and Four Pieces for clarinet and piano by Alban Berg. The second recital contained the D minor Concerto of Marcello, transcribed by J. S. Sach, Sonata No. 1 by Karl Haria von Weber, Sposalizio by Franz Liszt, Sonata in F by Nels Harveland, and Three Fantasies from Opus 116 by Johannes Brahms. The third recital consisted of the F minor Fantasy by Mozart, Variations on a Theme of Rameau by Paul Dukas, Sechs Kleine Klavierstucke by Arnold Schoenberg and Four Preludes by Sergei Rachraaninov. The fourth recital featured a comparison of selected Liszt and Schumann piano transcriptions of Paganini Viol in Caprices. Musical examples comparing the Paganini Caprices and the transcriptions by Liszt and Schumann, in addition to examples comparing the similarities and differences between the transcriptions of Liszt and Schumann, were interspersed throughout the lecture.
Date: May 1980
Creator: Sircy, Virginia Rice
System: The UNT Digital Library
The Eight Preludes for Piano of Frank Martin, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, J. Brahms, F. Chopin, I. Albéniz, R. Schumann, A. Scriabin, F. Liszt, and K. Szymanowski (open access)

The Eight Preludes for Piano of Frank Martin, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, J. Brahms, F. Chopin, I. Albéniz, R. Schumann, A. Scriabin, F. Liszt, and K. Szymanowski

Frank Martin, while assimilating many of the features of serial technique, found other of its features incompatible to his temperament. The Eight Preludes for Piano mark a point of decision regarding these features. While rejecting the twelve-tone row, he extracted prime cells from the octatonic scale and subjected them to the serial approach. One of these cells, G-flat - F - A - A-flat, evokes the B-A-C-H motive. In view of Martin's admiration for Bach, this similarity is probably not accidental. In any event, this four-note motive permeates the preludes and binds them into a coherent and unified set. Along with some evidence of partial form in the preludes, the concept of continuous variation is the compelling force molding the overall form. Martin disdained atonality on personal and artistic premises. Despite their contemporary textural qualities, the listener perceives c-sharp as a tonal center for the set. Tempo, rhythm, and texture contrasts and complementation between the preludes reveal an obviously preplanned format for the fulfillment of set unity. The consummate knowledge of pianism demonstrated in the preludes places them as a major contribution to twentieth-century piano literature.
Date: May 1980
Creator: Collins, Geraldine T.
System: The UNT Digital Library
A Stylistic Comparison of Aaron Copland's Passacaglia, Piano variations, and Four piano Blues: A Lecture Recital, Together with Three Recitals of Selected Works of Beethoven, Brahms, Chopin and Others (open access)

A Stylistic Comparison of Aaron Copland's Passacaglia, Piano variations, and Four piano Blues: A Lecture Recital, Together with Three Recitals of Selected Works of Beethoven, Brahms, Chopin and Others

During Aaron Copland's long and productive life, he has written many compositions of distinction; among his piano compositions are the Passacaglia, Piano Variations, and Four Piano Blues. These three piano works were composed during a span of over twenty years and reflect many different influences in the composer's musical life. The Passacaglia, an early work, was written under the direction of Copland's teacher, Nadia Boulanger. It was strongly influenced by her and the French neoclassic school. The influence of jazz is most prominent in the Four Piano Blues, whereas the Piano Variations were influenced by Arnold Schoenberg and other composers of the twelve-tone school. This study contains an examination of each of three piano pieces mentioned, with emphasis upon aspects of thematic development, harmony, rhythm, and sonority; then a comparison between the pieces is made.
Date: May 1981
Creator: Whitten, Sammie G. (Sammie Gayle)
System: The UNT Digital Library
Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin (open access)

Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin

This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to …
Date: May 1988
Creator: Yang, Shu-mei
System: The UNT Digital Library
Aspects of a Late Style in Sergei Rachmaninoff's Variations on a Theme of Corelli, Op. 42: a Lecture Recital, together with Three Recitals of Selected Works of J. Brahms, L. v. Beethoven, F. Chopin, C. Debussy, Zoltan Kodaly, M. Moussorgsky, and S. Prokofiev (open access)

Aspects of a Late Style in Sergei Rachmaninoff's Variations on a Theme of Corelli, Op. 42: a Lecture Recital, together with Three Recitals of Selected Works of J. Brahms, L. v. Beethoven, F. Chopin, C. Debussy, Zoltan Kodaly, M. Moussorgsky, and S. Prokofiev

This document identifies elements of a stylistic change which occurred in several of the pieces Rachmaninoff wrote during the last years of his life. These elements reflect a progressive trend in his music, which certainly maintained in spite of the change, its characteristic sound. The Variations on a Theme of Corelli, Op. 42 illustrate these new developments in their lean, angular unison sonorities, stripped of chordal padding and virtuosic display, in their percussive, staccato and incisive ostinato rhythmic figures, astringent chromatic harmony and modern air of detachment. The Rhapsody on a Theme of Paganini, Op. 43 confirms this stylistic development in its remarkable similarity to the Corelli Variations. In the last twenty-six years of his life in exile from his homeland, making his way around the world as a concert pianist, Rachmaninoff wrote only six major works. Perhaps his increasing age, separation from homeland, and the musical revolutions surrounding him in the Western world produced this stylistic development.
Date: May 1989
Creator: Ruttle, Mark
System: The UNT Digital Library
The Lyric, Elegiac, and Euphonic Qualities of Ernst Krenek's Compositional Style as Exemplified in the Early Toccata und Chaconne über en Chorale, "Ja, ich glaub an Jesum Christum," Op. 13: Together with Three Recitals of Selected Works of W.A. Mozart, F. Schubert, C. Nielsen, L.v. Beethoven, J. Brahms, F. Liszt, A. Berg and F. Martin (open access)

The Lyric, Elegiac, and Euphonic Qualities of Ernst Krenek's Compositional Style as Exemplified in the Early Toccata und Chaconne über en Chorale, "Ja, ich glaub an Jesum Christum," Op. 13: Together with Three Recitals of Selected Works of W.A. Mozart, F. Schubert, C. Nielsen, L.v. Beethoven, J. Brahms, F. Liszt, A. Berg and F. Martin

Ernst Krenek is noted and often criticized for the diversity of his overall output. However, one finds that his entire output is held together by a unique temperament regardless of stylistic changes. It is significant to compare the piano works to one another as the piano was the instrument he repeatedly turned to while testing new stylistic ideas. In writing about Krenek's music, Glenn Gould states eloquently and concisely that three qualities prevail in all of Krenek's mature output: the lyric, elegiac, and euphonic. These qualities are present in the early Toccata und Chaconne uber den Chorale, "Ja, ich glaub an Jesum Christum," Op. 13. It is lyrical in that melody is of utmost importance. One finds that melodic writing prevails in the other piano works as well regardless of when they were written. The elegiac also permeates the work. The Toccata and Chaconne shares with other later works this quality of seriousness, repose, and deep meaning. The Toccata and Chaconne is also euphonic. Krenek's overall style is one which does not shock or offend an audience. In a detailed comparison of the Toccata and Chaconne to later piano works, one may clearly see what Krenek specifically does musically to …
Date: May 1990
Creator: Hibler, Starla Dawn
System: The UNT Digital Library
Selected Contemporary Performance Problems as Found in Karel Husa's Sonata No. 2 for Piano (open access)

Selected Contemporary Performance Problems as Found in Karel Husa's Sonata No. 2 for Piano

The purpose of this study is to identify some of the performance problems associated with contemporary piano music, using the Sonata No. 2 for Piano by Karel Husa (1921 - ) as the basis for the discussion. In so doing, this study identifies Karel Husa as an important contributor to twentieth century piano repertoire. Personal interviews and correspondence with the composer provided biographical, analytical, and stylistic insight for this study. Supplemental information on Karel Husa was obtained from journals, newspaper articles, and dissertations. The first chapter provides biographical information gleaned from the interview, with emphasis on Husa's keyboard compositions and early compositional influences. The second chapter offers a detailed formal analysis of the Sonata No. 2 from the perspective of motivlc development and cyclic unity. The final three chapters focus on twentieth century performance problems as exemplified in Karel Husa's Sonata No. 2 for Piano. In Chapter 3, the discussion of notation provides a general background on notational developments in pitch and rhythm in the twentieth century, with the Sonata illustrating these procedures. The fourth chapter concentrates specifically on Husa's individual rhythmic language. The final chapter is devoted to Husa's coloristic use of the piano, addressing his unique contributions to …
Date: May 1990
Creator: Humm, Mary Mosher
System: The UNT Digital Library
Stylistic and Technical Considerations for Pedaling the Debussy Preludes, Together with Three Recitals of Selected Works of L. van Beethoven, A. Berg, J. Brahms, F. Chopin, C. Debussy, W.A. Mozart, S. Prokofieff, A. Schoenberg, F. Schubert, and R. Schumann (open access)

Stylistic and Technical Considerations for Pedaling the Debussy Preludes, Together with Three Recitals of Selected Works of L. van Beethoven, A. Berg, J. Brahms, F. Chopin, C. Debussy, W.A. Mozart, S. Prokofieff, A. Schoenberg, F. Schubert, and R. Schumann

The lecture recital was given November 6, 1989. Five Preludes by Claude Debussy were preformed following a lecture on some important considerations of approaching the pedaling complexities in his solo piano works. In addition to the lecture recital, three other solo piano recitals were performed. The first solo recital consisted of works by Franz Schubert and Robert Schumann, and was performed on November 17, 1980. On March 1, 1982, the second solo recital was presented. This performance consisted of works by J. Brahms, W.A. Mozart, S. Prokofieff, and A. Schoenberg. The third solo recital was performed on November 21, 1988 and included the works of L. van Beethoven. A. Berg, F. Chopin, and C. Debussy. The four programs were recorded on tape and filed with the written version of the lecture as part of the dissertation.
Date: May 1990
Creator: Etheridge, Kay, 1954 Apr. 18-
System: The UNT Digital Library
Ferruccio Busoni's Musical Thinking: A Study of His Sonatina Seconda and Toccata (open access)

Ferruccio Busoni's Musical Thinking: A Study of His Sonatina Seconda and Toccata

The objective of the dissertation is to examine certain correlations between Busoni the philosopher and Busoni the composer. His aesthetic and theoretical points of view, which are of vital importance for an appreciation of his compositions, are reviewed. The manifestation of his musical thinking in his own compositional practice is substantiated through an analysis of two of his late works for the piano: the Sonatina seconda and the Toccata. In addition to the lecture recital, based on the dissertation and given on February 18, 1991, three other public recitals were performed. The first, on November 30, 1987, included works of Bartok, Brahms, Mozart, and Granados. The second program, a chamber recital on January 16, 1989, featured works by Brahms. The third recital was performed on April 23, 1990, and included works by Beethoven, Prokofieff, and Chopin.
Date: May 1991
Creator: Lim, Chong-Pil
System: The UNT Digital Library
Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others (open access)

Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others

This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.
Date: May 1992
Creator: Fouse, Kathryn
System: The UNT Digital Library