Department: College-Conservatory of Music: Piano ![[clear]](close-x.png "Remove this limiter")
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1.
Bang Kim, Kristal.
Emma Lou Diemer’s Solo Piano Works Through 2010: A Study of Pedagogy and Performance in the Context of 20th- and 21st-Century Music Making.
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► The document presents a comprehensive survey of the solo piano works by…
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▼ The document presents a comprehensive survey of the solo piano works by an eminent contemporary woman composer Emma Lou Diemer, who is still alive and active as a musician of various roles, such as a composer, teacher, performer, and church musician. By keying into her representative solo piano works including her most recent output, the document’s primary goal is to guide performers and piano teachers for understanding and playing the composer’s piano works. Selected pedagogical and concert works will be given detailed analysis such as comparisons of styles, structures, and sonorities. In light of her collective output for piano literature, the significance of the composer’s contribution to the 20th- and 21st-Century music making, especially for the history of piano literature, is examined, in the context of current musical culture and trend.
Advisors/Committee Members: Joe, Jeongwon.
Subjects: Music
Keywords: emma lou diemer; piano solo works; pedagogy; 20th-century; 21st-century; performance
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2.
Bell, Cully.
Scriabin’s Preludes, Opus 11: A Pedagogical Guide.
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► While piano teachers often assign Chopin Preludes, Op. 28 and students often…
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▼ While piano teachers often assign Chopin Preludes, Op. 28 and students often want to learn various Rachmaninoff preludes, the Scriabin preludes offer an attractive alternative. This document serves as a pedagogical guide to Scriabin’s Twenty Four Preludes, Op. 11, and is intended for piano teachers of intermediate and advanced students who wish to introduce their students to Romantic Period literature using less traditional teaching materials. As a pedagogical guide, this document provides an overview of each prelude in the set, along with a discussion of the musical, interpretive and technical challenges presented by each prelude. A level of intermediate, late-intermediate, early-advanced or advanced is assigned to each prelude, while specific preludes from the set are suggested as potential alternatives to more standard pieces by Rachmaninoff and Chopin. A leveling chart is included to provide a quick reference for locating preludes at a specific skill level, or with specific technical or musical challenges.
Advisors/Committee Members: Conda, Jane.
Subjects: Music
Keywords: Scriabin; Piano; Pedagogy; Preludes; Pedagogical
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3.
Brown, Myron D.
The 19th Century Tarantella for Piano: A Pedagogical Guide to Performance and Leveling.
Degree: DMA, College-Conservatory of Music: Piano, 2011, University of Cincinnati
► This document’s primary function is to explore a rarely encountered musical genre,…
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▼ This document’s primary function is to explore a rarely encountered musical genre, the tarantella. The tarantella is a dance form whose origins have been long shrouded in mystery. Perhaps as a result, there has been very little written about the subject—both in terms of the dance itself and the actual music. Many of the major music encyclopedias and piano literature textbooks only make brief mention of the genre. Some of the greatest composers have written tarantellas for solo piano, but these pieces are not considered to be among their most important works. With only a few exceptions, these works are not performed or recorded very frequently. Tarantellas have great artistic and pedagogical value, and can hold their own alongside works of the standard performance repertoire. Along with general background information about the tarantella, this document will discuss notable tarantellas for solo piano from the 19th century, annotate them for technical challenges and pedagogical solutions, and level them according to difficulty.
Advisors/Committee Members: Conda, Jane.
Subjects: Music
Keywords: tarantella; piano; 19th century; tarantism
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4.
Chang, Yin-Ju.
A Performer's Guide to Brahms's Piano Sonata No. 2 Op. 2.
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► Among Brahms's three piano sonatas, the first one he composed was No.…
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▼ Among Brahms's three piano sonatas, the first one he composed was No. 2, Op. 2, which is less frequently performed and viewed less satisfactory in comparison to the third. Previous discussions of this piece concentrate on the overwhelming virtuosity. Understandably, this virtuosity creates tremendous challenges to pianists. This document provides a performer's guide to this sonata by examining the virtuosity as it relates to form and expression, and also by creating suggestions for practice and performance. Students, teachers, and performers can benefit from this study on a piece that is typically neglected in research and repertoire lists in favor of the more famous Sonata No. 3.
Advisors/Committee Members: Ng, Samuel.
Subjects: Music
Keywords: Brahms's; Sonata
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5.
Cho, Sujung.
Performance Challenges and Their Possible Solutions: Franz Schubert’s Piano Sonata in B-flat Major, D. 960.
Degree: DMA, College-Conservatory of Music: Piano, 2011, University of Cincinnati
► As a practical performance guide, this document identifies performance issues for Franz…
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▼ As a practical performance guide, this document identifies performance issues for Franz Schubert’s Piano Sonata in B-flat Major, D. 960, and proposes possible solutions. The introduction provides a brief historical background of Schubert’s piano sonatas in general and the B-flat Sonata in particular. Chapter one demonstrates how a harmonic analysis of the B-flat Sonata can inform such performance issues as timing, pacing, and tone color. Chapter two concerns performance practice issues related to playing this sonata, such as tempos, repeat signs, dynamics, pedaling, rhythm, and memorization. Through a comparison of two performing editions and a critical edition, chapter three suggests the best editions for the B-flat Sonata. Consequently, I hope this document will become a practical source to help pianists interpret and perform Schubert’s B-flat Sonata.
Advisors/Committee Members: mcclung, bruce.
Subjects: Music
Keywords: Schubert; Piano Sonata; Performance Challenges; Possible Solutions; B-flat Sonata; D. 960
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6.
Clavere, Javier.
A Study Guide to Franz Liszt's Grandes etudes de Paganini S.141.
Degree: DMA, College-Conservatory of Music: Piano, 2011, University of Cincinnati
► This document explores the second version of the Paganini Etudes (1851), outlining…
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▼ This document explores the second version of the Paganini Etudes (1851), outlining some of the characteristics of the transcription process from violin to piano in terms of pianistic devices used by Liszt to translate the capriccio and concerto theme into the piano-etude form. This document aids students, teachers, and performers in the learning process of these etudes by addressing the cognitive process from the perspective of a performer learning the basic requirements needed to master the pieces. With a short background and overall formal structure, each piece is viewed from the perspective of its original conception in the violin. Some elements of the transcription process and stylistic analysis of Liszt’s use of melodic, harmonic, and rhythmic characteristics are outlined in order to aid the learning process. Each chapter includes a “practice suggestions and guide” section where elements of technical problems, hand subdivision, and parsing of the score for memorization are explored with suggestive exercises and preparatory learning guides. The document also explores the physical-technical aspects of practicing the etudes, specifically, helpful exercises and the finger regimen needed to physically prepare these etudes for performance.
Advisors/Committee Members: Kregor, Jonathan.
Subjects: Performing Arts
Keywords: Piano Etudes; Nicolo Paganini; Franz Liszt; Piano
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7.
Downs, Benjamin Michael.
A Critical Narrative Interpretation of John Corigliano's Etude Fantasy.
Degree: DMA, College-Conservatory of Music: Piano, 2010, University of Cincinnati
► This study comprises a three-tiered interpretation of John Corigliano’s Etude Fantasy. First,…
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▼ This study comprises a three-tiered interpretation of John Corigliano’s Etude Fantasy. First, the formal properties of the work are analyzed using set theory. Second, the work is analyzed using Byron Almén’s recent semiotic theory of musical narrative. Lastly, in a mode of critical reflection, the study critiques the narrative suggested by Almén’s theory and offers a revision employing the aesthetic theories of Theodor Adorno. Adorno’s aesthetics and philosophy of negative dialectics is based upon the notion of non-identity. For Adorno, both thought and music are fundamentally a movement (“Bewegung”) without coming to a false absolute. This movement precludes any achievement of static arrival or conclusion into a single, unified, positive conclusion. This study uses this notion of non-identity to critique and modify Almén’s theory of musical narrative and forms a musical narrative particular to the Etude Fantasy.
Advisors/Committee Members: Cahn, Steven.
Subjects: Music
Keywords: Corigliano; Etude; Fantasy; Almen; Adorno; semiotics
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8.
Gertsenzon Fromm, Galit.
Musical Expressions in Times of Uncertainty: A Study of Gideon Klein's Songs Opus 1 (1940).
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► An important set of works by Gideon Klein, the Three Songs Opus…
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▼ An important set of works by Gideon Klein, the Three Songs Opus 1 (1940) is the subject of my DMA document. Klein, a Czech-Jewish pianist and composer, was twenty-five years old when he died in Fürstengrube camp, following an internment in the TerezÃn concentration camp. On the broad level, the compositions discussed in this document manifest a significant contribution to the musical canon of the twentieth-century repertoire. Yet, the choices of texts and musical expressions also suggest the possibility that these works respond to historical and personal events Klein experienced while composing them. The songs, set to texts by Goethe, Johann Klaj and Friedrich Hölderlin, portray a variety of scenes that involve few optimistic hints yet mainly they express melancholy, solitude, and uncertainty. Given the historical context of these compositions, the heart of my document focuses on the following question: How are the textual and musical expressions of melancholy and solitude in these songs are influenced by Klein's own uncertainty and how do the manifold musical images of these songs coalesce in a historic testimony of this most horrific time? In exploring this question, I examined the musical score of the songs. I also analyzed the musical procedures used in these compositions and the corresponding texts that he used. I discussed the poets who contributed these texts and investigated the connections of their poems to Klein's own fate. Additionally, I reviewed literature on the subject of music in TerezÃn and testimonies of individuals who knew Klein in his youth as well as in the camp. I found that although the texts appear varied enough so that they might be interpreted in diverse ways, Klein emphasized their melancholic facets and created a sense of uneasiness and uncertainty. Thus according to my reading the sentiments conveyed in the Songs, Op. 1 can be seen as a reflection of Klein's troubled, conflicted and uncertain life in Prague, during the spring and summer of 1940.
Advisors/Committee Members: Cahn, Steven.
Keywords: Gideon klein; Songs Op. 1; Terezin; Piano; Galit Gertsenzon Fromm; Holocaust
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9.
Hogan, Charles.
The Piano Sonatas of Allen Sapp: A Study of Style and Language.
Degree: DMA, College-Conservatory of Music: Piano, 2010, University of Cincinnati
► This document examines the ten piano sonatas of Allen Sapp. These ten…
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▼ This document examines the ten piano sonatas of Allen Sapp. These ten works demonstrate the composer's stylistic development and correspond to crucial moments of change. The examination looks at Sapp's language and influences of each of three distinct periods, giving general traits and compositional tendencies of the periods. Alternating with these stylistic surveys are more probing analyses of one sonata from each period. While these stand as great musical works in their own, this document is the first comprehensive study on the ten sonatas.
Advisors/Committee Members: Pridonoff, Eugene.
Subjects: Music
Keywords: Allen Sapp; Piano music; Sonata; Serialism; Post-tonal; Twentieth-century
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10.
Jain, Judith.
Louise Goss: The Professional Contributions of an Eminent American Piano Pedagogue.
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► This biographical doctoral document focuses on the pedagogical life of Louise Goss.…
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▼ This biographical doctoral document focuses on the pedagogical life of Louise Goss. While several dissertations have been devoted to the work of Frances Clark, Goss’s long-time friend and business partner, none has been written about Louise Goss herself. This project presents Goss’s biographical background, her involvement in the development of pedagogy programs leading to the creation of the New School for Music Study, and her role in the establishment and growth of the Frances Clark Center for Keyboard Pedagogy. This document also assesses Louise Goss’s endeavors as a writer, including her ongoing Clavier Companion magazine column, “Questions and Answers.” Several of Goss’s closest collaborators were interviewed and offered their recollections and views on her contributions to the field of piano pedagogy. The project ends with a portrayal of Louise Goss’s thoughts on pedagogical topics, culminating with the eminent pedagogue’s vision for the future of piano pedagogy.
Advisors/Committee Members: Conda, Jane.
Subjects: Music
Keywords: Louise Goss; Piano Pedagogy; The New School for Music Study; The Music Tree; The Frances Clark Center for Piano Pedagogy; Frances Clark
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11.
Kang, Eun Young.
Late Twentieth-Century Piano Concert Etudes: A Style Study.
Degree: DMA, College-Conservatory of Music: Piano, 2010, University of Cincinnati
► This document examines how four late twentieth-century composers’ styles engage with the…
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▼ This document examines how four late twentieth-century composers’ styles engage with the traditional genre of the etude. It explores the stylistic characteristics of concert etudes by John Cage (Etudes Australes), William Bolcom (Twelve New Etudes for Piano), John Corigliano (Etude Fantasy), and György Ligeti (Études pour piano, Premier Livre). The interaction of these composers’ styles with the general characteristics of the etude is explored from a performer’s perspective through a comparative study of these four collections. The introductory chapter provides a brief historical survey of the etude from the late eighteenth century to the twentieth century. Chapters two through five consider the etudes of Cage, Bolcom, Corigliano, and Ligeti in turn, summarizing their respective styles, examining the interaction of their styles with the virtuosic nature of the etude, and providing helpful instructions for the performance of these works. Chapter six briefly compares and contrasts the etudes of these four composers with each other as well as situates these works within the context of late twentieth-century piano music. This document contributes to our understanding of how the etude genre has been embraced by late twentieth-century composers as well as how they have engaged, to varying degrees, with the nineteenth-century attributes of the genre.
Advisors/Committee Members: mcclung, bruce.
Subjects: Music
Keywords: John Cage; William Bolcom; John Corigliano; Gyorgy Ligeti; piano etude
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12.
Lin, Chia-Hsing.
A Performer’s Guide to Interpretive Issues in Schubert’s Late Piano Sonatas, D. 958, D. 959 and D. 960.
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► Franz Peter Schubert’s last three sonatas, D. 958, 959 and 960 attract…
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▼ Franz Peter Schubert’s last three sonatas, D. 958, 959 and 960 attract modern scholars and performers with their personal, poetic style as well as their problematic interpretive issues. In my document, I will explore nineteen interpretive issues related to them in addition to acknowledging the historical background of these sonatas. Through the juxtapositions, comparisons and observations based on numerous recordings by renowned pianists, this document will demonstrate how these issues are interpreted by different pianists, how these issues can affect a great performance, and how these interpretations relate to Schubert’s music as well as with modern audiences’ expectations. The motivation behind my research is my desire to explore these interpretive issues among Schubert’s last three sonatas since there are performance problems associated with these pieces that remain unresolved. With the added value of such an examination this document will provoke pianists to question their own personal interpretations of these sonatas. This document will consist of four chapters: Chapter 1 – An Introduction; Chapter 2 – A Closer Analytical Examination of Nineteen Important Interpretive Issues; Chapter 3 – Experimenting with Selected Interpretations; and Chapter 4 – A Conclusion.
Advisors/Committee Members: Joe, Jeongwon.
Subjects: Music
Keywords: Schubert; Piano Sonatas
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13.
Mühlböck, Albert.
Recovering the Clavichord for the Modern Pianist.
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► This document examines the history of the clavichord, explores similarities between clavichord…
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▼ This document examines the history of the clavichord, explores similarities between clavichord and piano technique, and makes suggestions about the respects in which traditional principles of clavichord playing can improve the playing of pianists and piano students. For centuries the clavichord was considered the basis from which all other keyboard instruments could be approached. After a time of relative obscurity in the second half of the nineteenth century, followed by a revival in the twentieth century, the clavichord again enjoys enough dissemination and familiarity to resume that noble role. This study finds, through examination of ancient and contemporary sources, that especially a pianist’s sensitivity of touch and clarity of playing can be improved by playing the clavichord. Practical suggestions are also given. For future, extended versions of this thesis, please check www.albert-muhlbock.com.
Advisors/Committee Members: Cahn, Steven.
Subjects: Music
Keywords: clavichord; piano; pianist; pedagogy; keyboard instrument
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14.
Pierce, Stephen R.
An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions of Works by J. S. Bach.
Degree: DMA, College-Conservatory of Music: Piano, 2011, University of Cincinnati
► In this document I will examine Alexander Siloti’s (1863-1945) fourteen transcriptions for…
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▼ In this document I will examine Alexander Siloti’s (1863-1945) fourteen transcriptions for solo piano of works by J. S. Bach (1685-1750) that are currently in print. I will compare all of these transcriptions to Bach’s originals and discuss Siloti’s musical treatment of Bach’s music. When possible and relevant, I will compare certain works to transcriptions of the same pieces by contemporaries of Siloti, including Ferruccio Busoni (1866-1924), Ignaz Friedman (1882-1948), Wilhelm Kempff (1895-1991), Camille Saint-Saëns (1835-1921), and Theodor Szántó (1877-1934). I will also consider other Bach transcriptions made by Siloti in instances where he completed a solo piano transcription and one or more transcriptions of the same work for other instrumental combinations. It is my hope that pianists will become acquainted with a small but excellent body of work by a neglected artist due to this examination of Siloti’s Bach transcriptions. To this end I will give a brief overview of the history of the nineteenth century piano transcription, Bach as a transcriber, and the legacy of Bach’s music as transcribed for the piano. I will also provide important details about Siloti’s biography, and discuss his style and technique as a transcriber of Bach’s music. Lastly, I will examine Siloti’s fourteen Bach transcriptions for solo piano in detail.
Advisors/Committee Members: Joe, Jeongwon.
Subjects: Music
Keywords: Siloti; Bach; Transcription; Piano; Liszt
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15.
Song, Yoon.
Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement.
Degree: DMA, College-Conservatory of Music: Piano, 2011, University of Cincinnati
► This study explores the relationship between art song and its recomposition as…
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▼ This study explores the relationship between art song and its recomposition as a solo piano work by three nineteenth-century composers. While Franz Liszt is considered the most well-known arranger of art songs, other contemporaries excelled at the practice as well, such as Sigismond Thalberg and Stephen Heller. Though they lived in close proximity to one another, their arranging style shows significant variety, with each displaying different interpretations of their source material. Chapter 1 explains some of the most important differences between the techniques of paraphrase and transcription, with particular reference to works by Liszt. In Chapter 2, composers as arrangers in the nineteenth century are introduced with their biographical sketches and a survey of their arrangements. Analyzing song arrangements by three composers – Liszt, Thalberg, and Heller – comprises the largest part of the document. In Chapter 3, each composer’s compositional/arranging style is noted in detail, drawing from secondary sources as well as from some of their representative pieces. In the following chapter I compare different approaches to the same songs by pairing two composers at a time. A selected bibliography follows. In exploring the diverse styles of composers-arrangers of the nineteenth century, this document will also suggest that, in their hands, such works could become vehicles for homage to the source composer as well as vehicles for charting the direction of the music of the future.
Advisors/Committee Members: Kregor, Jonathan.
Subjects: Music
Keywords: Song arrangements; Franz Liszt; Sigismond Thalberg; Stephen Heller
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16.
Yang, Yu-Wen.
Metrical Dissonance in Selected Piano Pieces by Johannes Brahms, with Implications for Performance.
Degree: DMA, College-Conservatory of Music: Piano, 2012, University of Cincinnati
► Ambiguity in Brahms’s music is often the result of discrepancies between notated…
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▼ Ambiguity in Brahms’s music is often the result of discrepancies between notated and perceived meters. Music theorists have referred to these situations as metrical dissonances. The abundance of metrical dissonance in Brahms’s music confuses the listener’s perception of meter and creates problems for a performer in determining how to shape musical phrases. The purpose of this document is to apply Harald Krebs’s analytical system to discuss metrical dissonances in Brahms’s late piano pieces, including Op. 116, nos. 1, 5, and 7, Op. 117, no. 1, and Op. 118 no. 4. Krebs’s analytical notation will provide a solution to the confusion arising from the many conflicts between notation and perception in these pieces. The role of tonal, motivic, and formal structures in these metrical conflicts will be addressed, and performance implications will be discussed.
Advisors/Committee Members: Ng, Samuel.
Subjects: Music
Keywords: Selected Piano Pieces by Johannes Brahms; Metrical Dissonance; Brahms's Op. 116, nos. 1, 5, and 7,; Brahms's Op. 117, no. 1, and Op. 118 no. 4.
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