2024-03-28T23:19:08Zhttps://scholarworks.iu.edu/dspace-oai/requestoai:scholarworks.iu.edu:2022/143542021-10-19T01:10:07Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2012-04-11T14:36:27Z
urn:hdl:2022/14354
Traditional Japanese aesthetics within a modern frame : Japanese literary sources in relation to Toru Takemitsu's Rain tree sketches
Meek, Scott, 1982-
takemitsu, rain, tree, sketch, aesthetics, piano
2012-04-11T14:36:27Z
2012-04-11T14:36:27Z
2012-04-11
Essay (D. Mus.)--Indiana University, 2012
http://hdl.handle.net/2022/14354
en_US
License terms: No license.
oai:scholarworks.iu.edu:2022/144142021-10-19T01:51:12Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2012-04-30T15:19:48Z
urn:hdl:2022/14414
Mozart's Unfinished Fantasy; Thoughts about the Fantasy in D minor
Hackmey, Efi
Mozart, Fantasy, Fantasy in D minor, D minor, K. 397, Ending, Fragment, Mozart and Baroque, Fugue, Introduction, Baroque, Classical, Efi, Hackmey
2012-04-30T15:19:48Z
2012-04-30T15:19:48Z
2012-04-30
Essay (D. Mus.)--Indiana University, 2012.
http://hdl.handle.net/2022/14414
en_US
No license.
oai:scholarworks.iu.edu:2022/144212021-10-18T07:11:05Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2012-05-02T15:43:35Z
urn:hdl:2022/14421
Modeled Individuality: The Influence of Elliot Carter’s Piano Sonata (1946) in Carl Vine’s Piano Sonata (1990)
Boren, Benjamin
Carter, Vine
2012-05-02T15:43:35Z
2012-05-02T15:43:35Z
2012-05-02
Essay (D. Mus.)--Indiana University, 2012.
http://hdl.handle.net/2022/14421
en_US
No license.
oai:scholarworks.iu.edu:2022/144962021-10-18T07:01:48Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2012-05-30T13:56:04Z
urn:hdl:2022/14496
Coherence and diversity in Schubert's Impromptus, D. 935
Song, Jae Kyung
Schubert, Impromputs D. 935, Coherence, Diversity
2012-05-30T13:56:04Z
2012-05-30T13:56:04Z
2012-05-30
D. Mus.
http://hdl.handle.net/2022/14496
en_US
No license.
oai:scholarworks.iu.edu:2022/152062021-10-18T07:26:34Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2012-12-17T15:42:40Z
urn:hdl:2022/15206
Maurice Ravel's Miroirs for piano
Abramovitch, Ruti
Maurice Ravel, Miroirs
2012-12-17T15:42:40Z
2012-12-17T15:42:40Z
2012-12-17
Essay (D. Mus.)--Indiana University, 2012
http://hdl.handle.net/2022/15206
en_US
License terms: No license.
oai:scholarworks.iu.edu:2022/152072021-10-18T10:27:34Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2012-12-17T15:59:16Z
urn:hdl:2022/15207
Songs for piano alone: a look at Franz Liszt’s Buch der Lieder für Piano allein Books I and II
Rafal, Jeremy
Liszt, piano, lieder, transcription, Buch der Lieder
Music circles have often questioned the artistic integrity of piano transcriptions: should they should be on the same par as “original works” or are they merely imitations of somebody else’s work? Franz Liszt produced hundreds of piano transcriptions of works by other composers making him one of the leading piano transcriptionists of all time. While transcriptions are the results of rethinking and remolding pre-existing materials, how should we view the “transcriptions” of the composer’s own original work? Liszt has certainly taken much of his original non-piano works and transcribed them for solo piano. But would these really be transcriptions, or different versions? This thesis explores the question of how transcriptions of Liszt’s own works should be treated, particularly the solo piano pieces in the two books of Buch der Lieder für Piano allein. While some pieces are clearly transcriptions of previous art songs, some pieces should really be characterized as independent piano pieces first before art songs.
2012-12-17T15:59:16Z
2012-12-17T15:59:16Z
2012-12-17
Essay (D. Mus.)
http://hdl.handle.net/2022/15207
en_US
Attribution Non-commercial No Derivatives (by-nc-nd)
oai:scholarworks.iu.edu:2022/154612021-10-18T07:23:48Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2013-04-16T19:18:53Z
urn:hdl:2022/15461
A guide to Leopold Godowsky's Java suite
Arakawa, Jasmin
Piano, DM, Essay, Godowsky, Leopold, Java, Java Suite, Phonorama, Jasmin, Mariko, Arakawa
2013-04-16T19:18:53Z
2013-04-16T19:18:53Z
2013-04-16
Essay (D. Mus.)
http://hdl.handle.net/2022/15461
en_US
oai:scholarworks.iu.edu:2022/154722021-10-18T07:21:13Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2013-04-22T14:28:42Z
urn:hdl:2022/15472
Synthesis of tradition and innovation: a study of Ravel's Le tombeau de Couperin
Chen, Chih-Yi
Le Tombeau de Couperin, Ravel
2013-04-22T14:28:42Z
2013-04-22T14:28:42Z
2013-04-22
D. Mus.
http://hdl.handle.net/2022/15472
en_US
License terms: No license.
oai:scholarworks.iu.edu:2022/154852021-10-18T08:53:04Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2013-04-26T14:58:53Z
urn:hdl:2022/15485
Pianistic contributions of Hans von Bülow (1830-94): performer, teacher, and editor
Chan, Joni
HANS VON BÜLOW, HANS VON BULOW
2013-04-26T14:58:53Z
2013-04-26T14:58:53Z
2013-04-26
D. Mus.
http://hdl.handle.net/2022/15485
en_US
License terms: No license.
oai:scholarworks.iu.edu:2022/155702021-10-18T08:42:05Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2013-05-10T17:14:58Z
urn:hdl:2022/15570
Rhetorical approach to the performance of eighteenth-century keyboard music on the modern piano: C.P.E. Bach's Fantasia in G minor, Wq. 117-13 and Mozart's Fantasia in D minor, K. 397
Yamamura, Kaoru, 1976-
Rhetoric, Performance Practice, Eighteenth Century, Fantasia, Fantasy, C.P.E. Bach, Mozart
2013-05-10T17:14:58Z
2013-05-10T17:14:58Z
2013-05-10
D. Mus.
http://hdl.handle.net/2022/15570
en_US
No license.
oai:scholarworks.iu.edu:2022/166032021-10-18T08:46:21Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2013-06-06T14:02:05Z
urn:hdl:2022/16603
A pianist's study of Rachmaninoff's Variations on a theme of Corelli, op. 42
Bernard, Maxim
Rachmaninoff, Corelli. variations, Maxim Bernard, op. 42
2013-06-06T14:02:05Z
2013-06-06T14:02:05Z
2013-06-06
D. Mus.
http://hdl.handle.net/2022/16603
en_US
No license.
oai:scholarworks.iu.edu:2022/174812021-10-18T09:28:40Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-04-22T12:57:24Z
urn:hdl:2022/17481
Creating new from the old: Beethoven's Variations and fugue on an original theme, op. 35, the "Eroica variations"
Shin, Yoon-Won
Beethoven, Eroica Variations, Op. 35, Piano Variations
2014-04-22T12:57:24Z
2014-04-22T12:57:24Z
2014-04-22
D. Mus.
http://hdl.handle.net/2022/17481
en_US
oai:scholarworks.iu.edu:2022/174832021-10-18T09:59:46Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-04-22T14:00:19Z
urn:hdl:2022/17483
Interpreting Bach's Overture after the French manner on the modern piano
Luke, Norell
Johann Sebastian Bach, Overture after the French Manner, BWV 831
2014-04-22T14:00:19Z
2014-04-22T14:00:19Z
2014-04-22
D. Mus.
http://hdl.handle.net/2022/17483
en_US
oai:scholarworks.iu.edu:2022/175542021-10-18T10:15:02Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-05-05T15:07:54Z
urn:hdl:2022/17554
Franz Liszt: prophecy in the late piano works
Cataldi, Matthew Thomas, 1986-
Liszt
2014-05-05T15:07:54Z
2014-05-05T15:07:54Z
2014-05-05
D. Mus.
http://hdl.handle.net/2022/17554
en_US
oai:scholarworks.iu.edu:2022/175742021-10-18T10:15:11Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-05-07T14:19:56Z
urn:hdl:2022/17574
Comparing Russian trends in the piano sonatas of Rachmaninoff and Medtner
Hartnett, Owen J., 1981-
Rachmaninoff, Rachmaninov, Medtner, Piano, Sonatas, Russian
2014-05-07T14:19:56Z
2014-05-07T14:19:56Z
2014-05-07
D. Mus.
http://hdl.handle.net/2022/17574
en_US
oai:scholarworks.iu.edu:2022/185062021-10-18T08:16:06Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-07-21T13:38:03Z
urn:hdl:2022/18506
Study of Taiwanese composer Gordon Chin's piano concerto no. 1
Chen, Li-An
Gordon Chin, Piano Concerto No.1, Taiwanese
2014-07-21T13:38:03Z
2014-07-21T13:38:03Z
2014-07-21
D. Mus.
http://hdl.handle.net/2022/18506
en_US
oai:scholarworks.iu.edu:2022/185112021-10-18T13:09:24Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-07-28T14:21:30Z
urn:hdl:2022/18511
Harnessing the piano's voltage
Gleiser, Alissa
piano, electronics, survey
2014-07-28T14:21:30Z
2014-07-28T14:21:30Z
2014-07-28
D. Mus.
http://hdl.handle.net/2022/18511
en_US
oai:scholarworks.iu.edu:2022/185552021-10-18T11:05:32Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-08-07T13:39:22Z
urn:hdl:2022/18555
Invention through synthesis: former composers observed in Frank Martin's Húit préludes pour le piano
Pak, Jooeun
Frank Martin
2014-08-07T13:39:22Z
2014-08-07T13:39:22Z
2014-08-07
Piano essay
http://hdl.handle.net/2022/18555
en_US
oai:scholarworks.iu.edu:2022/192122021-10-18T13:09:48Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2014-12-19T15:29:24Z
urn:hdl:2022/19212
Bach's influences in the piano music of four 20th century composers: Schoenberg, Rochberg, Hindemith and Shostakovich
Xiao, June
BACH, SCHOENBERG, ROCHBERG, HINDEMITH, SHOSTAKOVICH
2014-12-19T15:29:24Z
2014-12-19T15:29:24Z
2014-12-19
D. Mus.
http://hdl.handle.net/2022/19212
en_US
No license
oai:scholarworks.iu.edu:2022/192312021-10-18T10:43:45Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2015-01-08T18:24:33Z
urn:hdl:2022/19231
Dance suite: comparative study of Johann Sebastian Bach's French overture and Béla Bartók's Dance suite
Kim, Jayoung
Bach French Overture, Bartók Dance Suite
2015-01-08T18:24:33Z
2015-01-08T18:24:33Z
2015-01-08
Essay
http://hdl.handle.net/2022/19231
en_US
No license.
oai:scholarworks.iu.edu:2022/197072021-10-18T13:34:13Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2015-03-12T15:18:39Z
urn:hdl:2022/19707
Inventions on the keyboard
Chen, Phyllis
Alvin Lucier, John Cage, George Crumb, Annea Lockwood, Henry Cowell
2015-03-12T15:18:39Z
2015-03-12T15:18:39Z
2015-03-12
D. Mus.
http://hdl.handle.net/2022/19707
en_US
No license.
oai:scholarworks.iu.edu:2022/197722021-10-18T13:33:42Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2015-04-07T13:38:34Z
urn:hdl:2022/19772
Sergei Prokofiev: lyricism, the return and ten pieces from Romeo and Juliet, op. 75
Weinstein, Anthony
Prokofiev, Romeo and Juliet, op. 75, Ten Pieces
2015-04-07T13:38:34Z
2015-04-07T13:38:34Z
2015-04-07
D. Mus.
http://hdl.handle.net/2022/19772
en_US
No License
oai:scholarworks.iu.edu:2022/198082021-10-18T13:44:04Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2015-04-23T17:17:36Z
urn:hdl:2022/19808
The evolution of Max Reger's piano works unearthed: aspects of harmony, counterpoint, and texture
Lin, Daniel (Daniel En-Hao)
Max Reger, Piano, Harmony, Counterpoint, Texture
2015-04-23T17:17:36Z
2015-04-23T17:17:36Z
2015-04-23
D. Mus.
http://hdl.handle.net/2022/19808
en_US
No license.
oai:scholarworks.iu.edu:2022/198442021-10-18T13:34:08Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2015-04-30T14:42:19Z
urn:hdl:2022/19844
György Ligeti's Désorde: musical chaos achieved with order
Khachatryan, Grigor, 1986-
Grigor Khachatryan, Gyorgy Ligeti, Musical Chaos Achieved with Order, Etude No. 1, Desordre, Piano Essay, Indiana University, Jacobs School of Music, Armenian pianist
2015-04-30T14:42:19Z
2015-04-30T14:42:19Z
2015-04-30
D. Mus.
http://hdl.handle.net/2022/19844
en_US
No license.
oai:scholarworks.iu.edu:2022/198612021-10-18T07:00:50Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2015-05-04T19:25:14Z
urn:hdl:2022/19861
A comparative study of the twenty-four preludes of Alexander Scriabin and Sergei Rachmaninoff
Roh, Yoon-Wha
24 Preludes
Scriabin
Rachmaninoff
2015-05-04T19:25:14Z
2015-05-04T19:25:14Z
2015-03-04
D.Mus.
http://hdl.handle.net/2022/19861
en_US
No license.
oai:scholarworks.iu.edu:2022/208552021-10-18T07:04:30Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2016-05-10T15:38:01Z
urn:hdl:2022/20855
Nikolai Medtner: performing imagination in his Sonata reminiscenza, op. 38 no. 1
Miranda, Christopher (Christopher John)
Nikolai, Medtner, Sonata, Reminiscenza, Op.38, Christopher, Miranda
2016-05-10T15:38:01Z
2016-05-10T15:38:01Z
2016-05-10
D. Mus.
http://hdl.handle.net/2022/20855
en_US
No license.
oai:scholarworks.iu.edu:2022/211252021-10-18T11:35:13Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2016-12-13T13:57:55Z
urn:hdl:2022/21125
An exploration of Gershwin's concerto in F and his cadenzas
Lerttamrab, Mayta
Gershwin Concerto in F, Analyses, similarities to Ravel's Concerto in G Major, Cadenzas, Alternate Cadenza, New Cadenza
It is unusual for an important piece such as George Gershwin’s Concerto in F to have remained so overlooked by classical pianists. Discussions among my colleagues revealed that not only was the piece rarely heard in concerts of classical music, performers generally preferred to learn other concertos over the Concerto in F. Furthermore, there has not been extensive research focusing solely on George Gershwin's Concerto in F and comparing it to other works in the same genre. The only book to analyze this concerto exclusively and in depth was written in German by Clemens Kühn. The amount of sources regarding the concerto being thus extremely limited, I hope, through this research, to provide more information and insights on the piece, and to stimulate more interest for musicians to perform it in the future.
I will first explore the biographical and stylistic contexts of this piece, followed by the musical connections between Gershwin’s concerto and Ravel’s; then, thorough analyses of the work and of its cadenzas will be presented. Lastly, after studying the cadenzas and the Concerto in F as a whole, I am no longer satisfied with the current practice of playing the cadenzas strictly as written, and chose to compose an alternative cadenza for the second movement. The new cadenza is included at the end of this document.
2016-12-13T13:57:55Z
2016-12-13T13:57:55Z
2016-12-12
D. Mus.
http://hdl.handle.net/2022/21125
en
No license.
oai:scholarworks.iu.edu:2022/211472021-10-18T11:59:18Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2016-12-15T13:50:27Z
urn:hdl:2022/21147
Cyclic elements in Schubert's last three piano sonatas, D. 958, 959, and 960
Park, Yoo-Ran Eunice
Schubert, Piano, Sonatas, D. 958, D. 959, D. 960
2016-12-15T13:50:27Z
2016-12-15T13:50:27Z
2016-12-15
D. Mus.
http://hdl.handle.net/2022/21147
en
No license.
oai:scholarworks.iu.edu:2022/212002021-10-18T07:25:13Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2017-01-24T13:34:01Z
urn:hdl:2022/21200
Dmitry Shostakovich, second piano sonata
Avanesian-Weinstein, Karina
Dmitry Shostakovich, Piano Sonata No. 2, op. 61
2017-01-24T13:34:01Z
2017-01-24T13:34:01Z
2017-01-24
Essay
http://hdl.handle.net/2022/21200
en
No license.
oai:scholarworks.iu.edu:2022/215952021-10-18T14:46:15Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2017-07-14T16:01:10Z
urn:hdl:2022/21595
Stylistic evolution in Emile Naoumoff's piano music
Joo, Soojin
Emile Naoumoff, Soojin joo, Naoumoff, piano essay
Thesis (DM) - Indiana University, Music 2017
2017-07-14T16:01:10Z
2017-07-14T16:01:10Z
2017-07-14
D. Mus.
http://hdl.handle.net/2022/21595
en
Indiana University
oai:scholarworks.iu.edu:2022/218042021-10-19T00:41:52Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2017-11-15T15:15:08Z
urn:hdl:2022/21804
Memorization of piano music and performing from memory
Chou, Hsiao-Tung Susan, 1981-
Memorization, Piano
Thesis (DM) Indiana University, Music, 2017
2017-11-15T15:15:08Z
2017-11-15T15:15:08Z
2017-11-15
D. Mus.
http://hdl.handle.net/2022/21804
en
Indiana University
oai:scholarworks.iu.edu:2022/218682021-10-18T15:03:16Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2018-01-10T14:53:46Z
urn:hdl:2022/21868
Portrait of a friendship: Liszt and Chopin in 1830s Paris
De Zwaan, Mark
Franz Liszt, Fryderyk Chopin, Frederic Chopin
Thesis (DM) - Indiana University, Music, 2018
2018-01-10T14:53:46Z
2018-01-10T14:53:46Z
2018-01-10
D. Mus.
http://hdl.handle.net/2022/21868
en
Indiana University
oai:scholarworks.iu.edu:2022/220022021-10-19T02:41:36Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2018-04-03T16:39:43Z
urn:hdl:2022/22002
A study of Rachmaninoff's Variations on a theme by Chopin, op. 22
Kim, Ji Hyun, 1984-
Rachmaninoff, Variations, Op.22, Piano
Thesis (DM) - Indiana University, Music, 2018
2018-04-03T16:39:43Z
2018-04-03T16:39:43Z
2018-04-03
D. Mus.
http://hdl.handle.net/2022/22002
en
Indiana University
oai:scholarworks.iu.edu:2022/223912021-10-18T16:11:53Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2018-08-31T14:14:08Z
urn:hdl:2022/22391
Study on Mily Balakirev's piano sonatas
Lee, Joohee, 1988-
Mily_Balakirev, Balakirev, Piano_Sonata, Russian_music, Mighty_Handful
Thesis (DM) - Indiana University, Music, 2018
2018-08-31T14:14:08Z
2018-08-31T14:14:08Z
2018-07-31
D. Mus.
http://hdl.handle.net/2022/22391
en
Indiana University
oai:scholarworks.iu.edu:2022/225332021-10-18T17:52:42Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2018-11-15T14:21:10Z
urn:hdl:2022/22533
Nationality as rhythmic/melodic line: a study of first language and compositional output
Friedberg, Ilya
Ilya Friedberg Pianist, Russian Music and Language, Voice and Sound,
Thesis (DM) - Indiana University, Music, 2018
2018-11-15T14:21:10Z
2018-11-15T14:21:10Z
2018-11-15
D. Mus.
http://hdl.handle.net/2022/22533
en
Indiana University
oai:scholarworks.iu.edu:2022/227272021-10-18T18:00:30Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2019-02-19T14:02:24Z
urn:hdl:2022/22727
Claude Debussy's twelve etudes, book I: an artistic realization of technical problems
Ioannides, Andreas, 1987-
Debussy, Etudes
Thesis (DM) - Indiana University, Music, 2019
2019-02-19T14:02:24Z
2019-02-19T14:02:24Z
2019-02-19
D. Mus.
http://hdl.handle.net/2022/22727
en
Indiana University
oai:scholarworks.iu.edu:2022/233272021-10-18T17:34:54Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2019-08-01T12:43:02Z
urn:hdl:2022/23327
A study of the influence of Marcel Proust and Charles Baudelaire in Henri Dutilleux's Sonate pour piano and 3 pré́ludes: mirrors in music and time
Lee, Kathy Tai-Hsuan
Henri Dutilleux
Piano Sonata
Le jeu des contraires
Temps musical
Marcel Proust
Charles Baudelaire
Thesis (DM) – Indiana University, Music, 2019
2019-08-01T12:43:02Z
2019-08-01T12:43:02Z
2019-08-01
Thesis
http://hdl.handle.net/2022/23327
en
Indiana University
oai:scholarworks.iu.edu:2022/236412021-10-19T00:06:50Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2019-09-06T16:09:04Z
urn:hdl:2022/23641
Samuil Feinberg: an evolution of style
Cavanaugh, Sean (Sean T.)
Feinberg, Samuil Feinberg, Alexander Goldenweiser, Medtner, Anatoly Alexandrov, J.S. Bach, Well-Tempered Clavier, Nikolai Zhilyayev, Alexander Scriabin, Pandiatonicism, Monothematicism, Piano Sonata No. 6 Op. 13, Piano Concerto No. 2 Op. 36, Stalin Prize
Thesis (DM) – Indiana University, Music, 2019
2019-09-06T16:09:04Z
2019-09-06T16:09:04Z
2019-09-06
D. Mus.
http://hdl.handle.net/2022/23641
en
Indiana University
oai:scholarworks.iu.edu:2022/244662021-10-19T04:24:37Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2019-10-04T13:45:10Z
urn:hdl:2022/24466
Beethoven's vocal styles in selected piano sonatas: a guide for pianists
Qian, Hanmo
Piano, Beethoven, Piano Sonata, Keyboard, Keyboard Music, Pianist, Vocal Style, Choral, Vocal, Missa solemnis, Late Style, Sonata, Chorale
Thesis (DM) – Indiana University, Music, 2019
2019-10-04T13:45:10Z
2019-10-04T13:45:10Z
2019-10-04
Thesis
http://hdl.handle.net/2022/24466
en
Indiana University
oai:scholarworks.iu.edu:2022/248752021-10-19T04:46:11Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2019-12-09T16:39:23Z
urn:hdl:2022/24875
Exploring neglected keyboard compositions by child composers
Yang, Haewon
prodigy
juvenilia
child composers
keyboard repertoire
Beethoven
Emile Naoumoff
Mendelssohn
Andre Mathieu
Thesis (DM) – Indiana University, Music, 2019
2019-12-09T16:39:23Z
2019-12-09T16:39:23Z
2019-12-09
D. Mus.
http://hdl.handle.net/2022/24875
en
Indiana University
oai:scholarworks.iu.edu:2022/252762021-10-18T15:18:12Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2020-03-10T14:29:15Z
urn:hdl:2022/25276
Revolutionary approach to tradition in the twenty-four preludes for piano by Dmitri Kabalevsky and Dmitri Shostakovich
Artemyev, Aleksey
prelude, shostakovich, kabalevsky, piano, revolutionary, soviet music, soviet, piano prelude, miniature
Thesis (DM) – Indiana University, Music, 2020
2020-03-10T14:29:15Z
2020-03-10T14:29:15Z
2020-03-10
Thesis
http://hdl.handle.net/2022/25276
en
Indiana University
oai:scholarworks.iu.edu:2022/252782021-10-18T15:18:19Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2020-03-10T15:53:12Z
urn:hdl:2022/25278
Young Poland and Szymanowski's Metopes op. 29 and Masques op. 34
Bartlett, Justin
Szymanowski, Young Poland
Thesis (DM) – Indiana University, Music, 2020
2020-03-10T15:53:12Z
2020-03-10T15:53:12Z
2020-03-10
Thesis
http://hdl.handle.net/2022/25278
en
Indiana University
oai:scholarworks.iu.edu:2022/253462021-10-18T16:03:26Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2020-04-17T14:57:04Z
urn:hdl:2022/25346
Works for piano and orchestra by Portuguese composers
Menezes, Marta
Alfredo, Napoleao, Napoleão, Armando, José, Jose, Fernandes, Fernando, Lopes, Graça, Graca, Lopes-Graça, Lopes-Graca, concerto, concertos, concertante, piano, orchestra, Portugal, Portuguese, portugues, português, Marta, Menezes
Thesis (DM) – Indiana University, Music, 2020
2020-04-17T14:57:04Z
2020-04-17T14:57:04Z
2020-04-17
http://hdl.handle.net/2022/25346
en
Indiana University
oai:scholarworks.iu.edu:2022/254212022-10-21T18:58:33Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2020-05-06T15:42:37Z
urn:hdl:2022/25421
From pipe organ to pianoforte: the practice of transcribing organ works for piano with a critical study of César Franck's Prélude, fugue et variation, op. 18 and Johann Sebastian Bach's prelude and fugue in D major, BWV 532
Rollings, Benjamin
Johann Sebastian Bach; Bach; Harold Bauer; Bauer; Ferruccio Busoni; Busoni; Eugen d'Albert; d'Albert; César Franck; Franck; Max Reger; Reger; Eugen d'Albert; d'Albert; Piano Transcription; Transcription; Transcribing; Organ Composition; Performance Practice; Organ Performance Practice; Piano Performance Practice; Prelude and Fugue in D major; BWV 532; Prélude, Fugue et Variation; Op. 18
Thesis (D. Mus.) – Indiana University, Music, 2020
2020-05-06T15:42:37Z
2020-05-06T15:42:37Z
2020-05-06
D. Mus.
https://hdl.handle.net/2022/25421
en
Indiana University
oai:scholarworks.iu.edu:2022/254282022-10-21T18:57:56Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2020-05-07T15:30:07Z
urn:hdl:2022/25428
The rise of nineteenth century concert etudes: a comparative analysis of three etudes
Bird, Justin
Piano, Etude, Alkan, Chopin, Liszt
Thesis (D. Mus.) – Indiana University, Music, 2020
2020-05-07T15:30:07Z
2020-05-07T15:30:07Z
2020-05-07
D. Mus.
https://hdl.handle.net/2022/25428
en
Indiana University
oai:scholarworks.iu.edu:2022/258612022-10-21T18:57:21Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2020-10-16T15:25:50Z
urn:hdl:2022/25861
Piano portraits: a performer's guide to the solo piano music of Amy Williams
Longendyke, Clare
Amy Williams, cineshape, Cineshape, solo piano, piano, Falling, Brigid's Flame, Astoria, Piano Portraits
Thesis (D. Mus.) – Indiana University, Music, 2020
The purpose of this document is to examine composer Amy Williams’s current catalogue of solo piano works: Astoria, Brigid’s Flame, Cineshape 4, Falling, and Piano Portraits: Books 1 and 2. The goal of this research is to introduce the composer’s solo piano repertoire to a larger audience and to establish a general description of Williams’s musical language and style. In addition, the document includes background information about each piece as well as interpretive and technical guidance to support accurate and informed performances of Williams’ solo piano music. To accomplish these goals, the author has conducted and transcribed interviews with Williams that explore her biography and professional history, her compositional language, and specific information about the conception and composition of each piece. Analyses of each piece’s melodic, harmonic, rhythmic, formal, and narrative content are presented within each chapter, as well as practice and perfo rmance guidance. The performance suggestions result from the author’s own in-depth study and performance of the works as well as insight offered by the composer. The document begins with an introduction to Amy Williams and her musical work, and goes on to justify the importance of this study. The document then presents Williams’s biography and explains general observations and trends within her approach to composition as demonstrated by the solo piano pieces. Individual chapters dedicated to each of the five aforementioned works follow. The analysis of each piece is unique to that work’s content and structure and aims to offer performers a starting point to guide their deeper study of the music, rather than serving as a dogmatic doctrine to each aspect of the compositions.
2020-10-16T15:25:50Z
2020-10-16T15:25:50Z
2020-10-16
D. Mus.
https://hdl.handle.net/2022/25861
en
Indiana University
oai:scholarworks.iu.edu:2022/263392021-10-19T03:53:22Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2021-04-05T11:41:16Z
urn:hdl:2022/26339
Design thinking for concert experiences
Zhou, Nina
concert curation, program design, interdisciplinary arts, concert programming, design thinking, transdisciplinary, piano, recital, multimedia, concert etiquette, arts administration, concert production, service design, artist curator, contemporary, empathy, technology, innovation, audience development
Thesis (DM) – Indiana University, Music, 2017
2021-04-05T11:41:16Z
2021-04-05T11:41:16Z
2021-04-05
D. Mus.
http://hdl.handle.net/2022/26339
en
Indiana University
oai:scholarworks.iu.edu:2022/264122022-08-01T19:14:07Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2021-05-03T02:15:14Z
urn:hdl:2022/26412
Pianism for small hands : strategies and solutions to optimize performance and minimize chances of injury
Chong, Tina
Ergonomically scaled piano keyboard, pianists with small hands, small-handed pianist
Thesis (D. Mus.) – Indiana University, Music, 2021
2021-05-03T02:15:14Z
2021-05-03T02:15:14Z
2021-05-02
Thesis
https://hdl.handle.net/2022/26412
en
Indiana University
oai:scholarworks.iu.edu:2022/266472022-04-28T15:38:55Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2021-07-20T12:42:30Z
urn:hdl:2022/26647
Let the record show : the performance evolution of Chopin's second sonata over the past century
Yao, Elizabeth
chopin, funeral march, performance practice, old recordings, recordings, piano rolls
Thesis (D. Mus.) – Indiana University, Music, 2021
2021-07-20T12:42:30Z
2021-07-20T12:42:30Z
2021-08-20
Thesis
https://hdl.handle.net/2022/26647
en
Indiana University
oai:scholarworks.iu.edu:2022/269112022-05-16T13:12:49Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2021-11-05T12:29:52Z
urn:hdl:2022/26911
Finding flow in piano practice
Wang, Gregory
pianist piano practice performance psychology flow
Thesis (D. Mus.) – Indiana University, Music, 2021
Stemming from Mihály Csíkszentmihályi’s study of psychologically optimal performance, this research aims to reframe the subjective state of Flow for practicing pianists. The text specifically examines some factors that detract from the likelihood of experiencing flow, positing methods of stress-reduction and positive psychology for optimal pianistic performance both on and off the stage.
2021-11-05T12:29:52Z
2021-11-05T12:29:52Z
2021-11-05
Thesis
https://hdl.handle.net/2022/26911
en
Indiana University
oai:scholarworks.iu.edu:2022/270092022-10-12T19:51:00Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2021-12-16T16:41:17Z
urn:hdl:2022/27009
The bridge to modernism : Franz Lizst and the late piano music
Chang, Joanne Chew-Ann
Franz Liszt, Piano, Modernism, Romanticism, Impressionism, La lugubre gondola, Nuages Gris, Villa d'Este, Expressionism, Schoenberg, Ravel, Debussy, Berg, Chopin, piano music, piano literature, piano pedagogy, augmented triad, atonality, Wagner
Thesis (D. Mus.) – Indiana University, Music, 2021
A celebrated pianist, composer, teacher, and writer, Franz Liszt (1811-1886) was the leading figure in 19th century classical music. Known for his virtuosity and technical finesse on the piano, Liszt marked the beginning of the Romantic piano virtuosi in the early 19th century. A champion of the solo piano recital, Liszt’s extensive touring career brought him to major European cities from Vienna to Paris and as far as London and St. Petersburg. His popularity drew large crowds into concert halls where he performed music of the past and present. Liszt’s mastery in arranging and transcribing works of his own and others further contributed to the revival of old masters and promotion of living composers during his time.
As a composer, many of Liszt’s piano compositions showcased pianistic flare and pushed the boundaries of technique, texture, and sonority of the piano and the pianist. Many of these creative innovations have remained revolutionary till this day. A pianist’s repertoire would not be comprehensive without studying the piano works of Liszt.
The evolution of Liszt’s compositional style is often divided into three periods: the early years, the middle years, and the late years. The music of the early and middle years saw a trend of virtuosity, thematic transformation, and inspiration from the elements of nature and literature. The later years saw a sharp shift in Liszt’s compositional style, most notably in his “modern” application of harmony, tonality, and form. Liszt scholar Alan Walker claims Liszt as “one of the most revolutionary personalities in the entire history of music” and “the true father of modern music.” Considered futuristic at the time, the late works appeared visually simpler in music notation, often with dense chromaticism, harmonic dissonance, and tonally unresolved endings. With multiple editions of Liszt’s earlier works published during his lifetime, most of the piano music from the late period remained unpublished until the end of the first quarter of the 20th century.
One of Europe’s celebrated virtuosos, Liszt’s radical stylistic shift and the poor reception of the late works raise an interesting topic for further study. The connection of Liszt to the music of the 20th century is apparent, and this study aims to discover Liszt’s innovations through the solo piano works of the late period.
“The Bridge to Modernism” is a study in three parts: part one will provide an overview of Liszt’s life and inspiration in the late years; part two will break down the various styles and technical explorations in the late works foreshadowing the music of the future; and finally, to encourage wider appreciation to Liszt’s late music, the study will include a level-graded sample guide to selected solo piano works from the late period for the use of performance and pedagogy.
A creative innovator, Liszt’s compositions reflected various experimental techniques uncommon during the 19th century. Liszt is often credited for his influence on the development of harmony in the early 20th century. The use of non-functional harmonies, augmented chords, exotic scales such as the whole-tone and Hungarian scales point to the musical languages of Claude Debussy, Arnold Schoenberg, and Béla Bartók. Other techniques of late Liszt included experiments in formal tonal structures, usage of chromaticism and dissonances, and explorations in formal design and textural layers.
This document focuses primarily on the last two decades of Liszt’s life, the years more commonly referred to the three-fold life where Liszt traveled back and forth among three major cities, Weimar, Budapest, and Rome. Although Liszt primarily taught masterclasses at Weimar and Budapest, he frequently traveled to other cities including London, Tivoli, and Bayreuth. Despite his old age and declining health, Liszt continued music composition. The late works from the 1860s onwards reflected a sharp shift in compositional style. Many of these pieces were written for solo piano; Liszt was now composing for himself, and not for the public. These works reflected Liszt’s current state of mind in this period of depression with frequent thoughts of death, despair, and retrospection. Noticeable characteristics in these works included a predominance of stark and austere styles, smaller and unconventional form structures, avoidance of cadence resolutions, augmented and diminished harmonies, and long passages only containing single notes.
This shift from romanticism and its ideals formed a bridge to a new era, “modernism.” Scholars often refer to this musical aesthetic movement as “post-romanticism,” championed primarily by composers Wagner, Strauss, and Bruckner. However, Liszt’s late works and associations with the New German School proved to be too “cutting-edge” for many music conservatives. Controversies were associated with Liszt throughout his life: his early virtuoso years of “over-sensational” piano playing, his adulterous relationships with Countess Marie d’Agoult and Princess Carolyne zu Sayn-Wittgenstein, the criticism for his “unconventional” composition style, the question of Liszt’s national identity and allegiance—he was often in the spotlight. Even his close musical ally Wagner later dismissed Liszt’s “modern” style and called it a symptom of “budding insanity.” The turmoil and public dismissal of Liszt’s late music surely had a significant impact on the composer who, at a point, turned to faith and composed several compositions with sacred sentiments.
This study places Liszt as an influential figure in the development of 20th century classical music, a period that sparked the beginning of several aesthetic movements including music of French Impressionism, atonal and serial music of the Second Viennese School, and music of Hungarian Nationalism. By understanding Liszt’s life and his vision on the future of music, this study will further justify his role in “the bridge to modernism” by placing examples from his work alongside selected works by 20th century composers. Although Liszt did not live on to witness these foundations flourish decades later, it is fascinating to see Liszt’s innovative ingenuity reflected in several musical aesthetics of the future.
The final chapter of this document will conclude with a performance study guide of selected late solo piano works by Liszt organized according to level of difficulty with short descriptions on each work. The endeavor to create a performance guide for the late solo piano works is the first of its kind. This guide aims to encourage performance and pedagogical study on the late piano music where pianists will discover musical gems and unveil a glimpse on Liszt’s perspective on the future of music.
2021-12-16T16:41:17Z
2021-12-16T16:41:17Z
2021-12-16
Thesis
https://hdl.handle.net/2022/27009
en
Indiana University
oai:scholarworks.iu.edu:2022/270102022-10-21T18:56:06Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2021-12-16T16:51:18Z
urn:hdl:2022/27010
Strategies to deal with the challenges of the piano solo recital : interviews with piano faculty members and university piano majors
Kim, Kyunghoon, 1990-
Piano, Solo Recital, Strategy, Challenge, Interview
Thesis (D. Mus.) – Indiana University, Music, 2021
2021-12-16T16:51:18Z
2021-12-16T16:51:18Z
2021-12-16
Thesis
https://hdl.handle.net/2022/27010
en
Indiana University
oai:scholarworks.iu.edu:2022/283592023-04-21T17:09:21Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2022-10-31T10:51:58Z
urn:hdl:2022/28359
Modernism and national identity in the piano works of Heitor Villa-Lobos and Alberto Ginastera
Martin, Dario, 1987-
Villa-Lobos, Ginastera
Essay D. Mus. Indiana University 2022.
2022-10-31T10:51:58Z
2022-10-31T10:51:58Z
2022-10-31
Thesis
https://hdl.handle.net/2022/28359
en
Indiana University
oai:scholarworks.iu.edu:2022/283812023-07-11T16:36:15Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2022-11-03T18:12:21Z
urn:hdl:2022/28381
The life and keyboard sonatas of Leopold Koželuch
Leal, Fidel
Koželuch, Koželuh, Kotzeluch, Kozeluch, Kozeluh, Leopold, keyboard sonatas, sonata
Thesis (D. Mus.) – Indiana University, Music, 2022
2022-11-03T18:12:21Z
2022-11-03T18:12:21Z
2022-11-03
Thesis
https://hdl.handle.net/2022/28381
en
Indiana University
oai:scholarworks.iu.edu:2022/285982023-07-13T16:20:34Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2022-12-13T14:56:03Z
urn:hdl:2022/28598
Lives of Rachmaninov's third and fourth piano concertos
Shakirova, Gulrukh
Rachmaninov, Third piano concerto op.30, Fourth piano concerto op.40
Thesis (D. Mus.) – Indiana University, Music, 2022
2022-12-13T14:56:03Z
2022-12-13T14:56:03Z
2022-12-13
Thesis
https://hdl.handle.net/2022/28598
en
Indiana University
oai:scholarworks.iu.edu:2022/289992023-04-12T07:01:24Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-04-11T13:35:23Z
urn:hdl:2022/28999
ANALYSIS OF J. S. BACH’S KEYBOARD PARTITA NO. 2 IN C MINOR BWV 826, DIFFERENCES IN REALIZATION OF EXPRESSION ON HARPSICHORD AND PIANO
Zheng, Xun
J. S. Bach, Piano, Harpsichord, Keyboard Partita No. 2, BWV 826, Partita
Thesis (DM) – Indiana University, Music, 2023
2023-04-11T13:35:23Z
2023-04-11T13:35:23Z
2023-04-11
Thesis
https://hdl.handle.net/2022/28999
en
Indiana University
oai:scholarworks.iu.edu:2022/290332023-05-08T07:03:02Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-05-05T15:17:17Z
urn:hdl:2022/29033
WILLIAM BYRD’S MY LADYE NEVELLS BOOKE: A GUIDE TO INTERPRETATION AND PERFORMANCE
Kim, Younkyung
William Byrd, My Ladye Nevells Booke, English Renaissance Keyboard Music, Grace
Thesis (DM) – Indiana University, Music, 2023
2023-05-05T15:17:17Z
2023-05-05T15:17:17Z
2023-05-05
Thesis
https://hdl.handle.net/2022/29033
en
Indiana University
oai:scholarworks.iu.edu:2022/290372023-05-08T07:02:35Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-05-05T16:09:40Z
urn:hdl:2022/29037
Cryptology and Hidden Meanings in the Late Piano Works of Johannes Brahms
Watkins, Benjamin
Johannes Brahms, Cryptology, Op. 117, Op. 118, Op. 119, Op. 120
Thesis (DM) – Indiana University, Music, 2023
2023-05-05T16:09:40Z
2023-05-05T16:09:40Z
2023-05-05
Thesis
https://hdl.handle.net/2022/29037
en
Indiana University
oai:scholarworks.iu.edu:2022/290442023-05-08T07:02:32Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-05-05T17:35:38Z
urn:hdl:2022/29044
Picturing Rhythm: Ravel's Miroirs
Xiang, Ruoyang
Ravel, Miroirs, Analysis, Metrical dissonance
Thesis (DM) – Indiana University, Music, 2023
2023-05-05T17:35:38Z
2023-05-05T17:35:38Z
2023-05-05
Thesis
https://hdl.handle.net/2022/29044
en
Indiana University
oai:scholarworks.iu.edu:2022/292422023-05-31T07:01:16Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-05-30T13:54:13Z
urn:hdl:2022/29242
LEARNING THEORIES: WHY SHOULD THEY BE IMPORTANT TO ARTIST-TEACHERS AND APPLIED PIANO STUDIO TEACHERS
Stapanukul, Nicha
learning theories, studio teaching, artist teacher, teaching approach
Thesis (DM) – Indiana University, Music, 2023
2023-05-30T13:54:13Z
2023-05-30T13:54:13Z
2023-05-30
Thesis
https://hdl.handle.net/2022/29242
en
Indiana University
oai:scholarworks.iu.edu:2022/293052023-06-30T07:01:24Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-06-29T13:07:33Z
urn:hdl:2022/29305
Interpreting and Performing Bach's Goldberg Variations on the Modern Piano: A Study of Score Editions and Recordings and a Practical Guide
Wang, Shiyu
Bach, Johann Sebastian Bach, Goldberg Variations, piano, performance practice, interpretation, score study, recordings, Baroque
Thesis (DM) – Indiana University, Music, 2023
2023-06-29T13:07:33Z
2023-06-29T13:07:33Z
2023-06-29
Thesis
https://hdl.handle.net/2022/29305
en
Indiana University
oai:scholarworks.iu.edu:2022/295312023-12-15T08:02:02Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-12-14T15:50:34Z
urn:hdl:2022/29531
Schumann Carnaval: A Product of Romanticism
Sohn, Andrew
Schumann, Carnaval, Romanticism
Thesis (DM) – Indiana University, Music, 2023
2023-12-14T15:50:34Z
2023-12-14T15:50:34Z
2023-11-14
Thesis
https://hdl.handle.net/2022/29531
en
Indiana University
oai:scholarworks.iu.edu:2022/295322023-12-15T08:02:12Zcom_2022_14076com_2022_3160com_2022_19673col_2022_14094
2023-12-14T16:01:38Z
urn:hdl:2022/29532
FOUR REFLECTIONS: A WORTHY ADDITION TO THE MODERN PERFORMING PIANIST’S REPERTOIRE
Muzzi, Dominic
Rieke,Muzzi,Ligeti,Ginastera,Martinu
Thesis (DM) – Indiana University, Music, 2023
2023-12-14T16:01:38Z
2023-12-14T16:01:38Z
2023-12-14
Thesis
https://hdl.handle.net/2022/29532
en
Indiana University