Thesis (M.M.)--Bowling Green State University, 2005.
Document formatted into pages; contains 1 score (187 p.) Duration: ca. 28 min. Includes bibliographical references.
This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the ...score of this work.
Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my use of contour theory. Part II of the first volume illustrates these techniques through an analysis of the Concerto for Piano and Orchestra. The main topics of this analysis are the creation of background harmonic regions based on high pitch commonality to a referential sonority, and the integration of a basic shape or contour into all parameters and structural levels of the music.
Volume two is the full score of the Concerto for Piano and Orchestra. This work has a duration of 23 minutes. It is scored for solo piano and a small orchestra consisting of flute (doubling on piccolo), oboe, B-flat clarinet, bassoon, horn in F, trumpet in C, trombone, two percussion and strings (44332). The Concerto is divided into four movements, played without pause, and two brief opening and closing sections.
H. Leslie Adams (b. 1932), George Theophilus Walker (b. 1922), and Adolphus Cunningham Hailstork (b. 1941) are three prominent African American composers who have contributed to Western music ...traditions. Although studies have been conducted regarding the history of the American piano concerto, this dissertation discusses the importance of the African American contribution to this genre. As there is currently limited research regarding these piano concerti, the author has chosen three representative works which exemplify the variety displayed by the African American eclectic composers. While Adams's, Walker's and Hailstork's solo keyboard works have been investigated to some extent, there is no current research regarding each of their piano concertos. Therefore, this dissertation aims to bridge the gap between the studies of the American piano concerto and African American eclectic composers. Chapter One includes an introduction of the historical background of the American piano concerto as well as of the African Americans who have composed piano concerti since the early-twentieth century. The main body of the dissertation discusses Leslie Adams's, George Walker's, and Adolphus Hailstork's approaches to form, harmonic vocabulary, and stylistic features employed in each work. Chapter Two discusses Adams's Citiscape with relation to its tonal aesthetic, pianistic devices, innovative features in the orchestration, and the display of vocal influence. Chapter Three discusses George Walker's Piano Concerto with regard to the incorporation of techniques such as twelve-tone devices and the alternation between lyrical and percussive techniques. Chapter Four discusses the Piano Concerto by Hailstork and its illustration of affinity for both Romantic and Impressionistic styles. The conclusion, Chapter Five, summarizes the previous chapters as well as provides suggestions for learning more about the piano concerti by African American composers. Finally, this dissertation also provides a comparison of stylistic traits between each concerto and each composer's piano solo works to illustrate similarities in compositional approach to the piano.
Titre uniforme : Mendelssohn Bartholdy, Felix (1809-1847). Compositeur. Concertos. Violon, orchestre. Op. 64. Mi mineur
Présentation musicale : Partition d'orch.
Uniform title: Mendelssohn Bartholdy, ...Felix (1809-1847). Composer. Concertos. Violin, orchestra. Op. 64. Minor Mi
Musical presentation: Partition of orch.
Titre uniforme : Mendelssohn Bartholdy, Felix (1809-1847). Compositeur. Concertos. Violon, orchestre. Op. 64. Mi mineur
Présentation musicale : Partition d'orch.
Titre uniforme : Mendelssohn Bartholdy, Felix (1809-1847). Compositeur. Concertos. Violon, orchestre. Op. 64. Mi mineur
Présentation musicale : Partition d'orch.
Uniform title: Mendelssohn Bartholdy, ...Felix (1809-1847). Composer. Concertos. Violin, orchestra. Op. 64. Minor Mi
Musical presentation: Partition of orch.
Titre uniforme : Mendelssohn Bartholdy, Felix (1809-1847). Compositeur. Concertos. Violon, orchestre. Op. 64. Mi mineur
Présentation musicale : Partition d'orch.
Titre uniforme : Mendelssohn Bartholdy, Felix (1809-1847). Compositeur. Concertos. Violon, orchestre. Op. 64. Mi mineur
Présentation musicale : Partition d'orch.
Uniform title: Mendelssohn Bartholdy, ...Felix (1809-1847). Composer. Concertos. Violin, orchestra. Op. 64. Minor Mi
Musical presentation: Partition of orch.
Titre uniforme : Mendelssohn Bartholdy, Felix (1809-1847). Compositeur. Concertos. Violon, orchestre. Op. 64. Mi mineur
Présentation musicale : Partition d'orch.
v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)
Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on ...piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.
It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topics include the use of tonality in the work, the variation techniques used in composing the interludes, and a discussion of compositional procedures used in a single movement along with examples of their application in other movements.
