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The Finales Of Robert Shumann's Piano Sonatas And Fantasie, Emiko Sato
The Finales Of Robert Shumann's Piano Sonatas And Fantasie, Emiko Sato
Dissertations, Theses, and Capstone Projects
This dissertation sets out to examine the finales of Robert Schumann's Piano Sonatas (opp. 11, 14, 22 [original finale]), and Fantasie (op. 17), with an especial focus on their form, which can be broadly categorized as parallel form. The introduction examines historical criticisms of Schumann's large-scale works, pointing out some of the idiosyncratic features found in Schumann's finales. Each chapter will present a comprehensive analysis of one of the finales. I make use of color diagrams in the formal analyses, which expeditiously and efficiently elucidate the repeating patterns of thematic and transitional materials; they also visually reflect the actual …
L'Harmonie Révée: An Analysis Of Henri Pousseur's 'Votre Faust' And 'Les Litanies D'Icare', Andre Rene Bregegere
L'Harmonie Révée: An Analysis Of Henri Pousseur's 'Votre Faust' And 'Les Litanies D'Icare', Andre Rene Bregegere
Dissertations, Theses, and Capstone Projects
This dissertation consists of two chapters, largely self-contained, each dedicated to a different piece by Belgian composer Henri Pousseur (1929-2009). The first chapter presents a detailed survey of Pousseur's opera, Votre Faust, attempting to address all major aspects of this vast, ambitious work: origins and reception, compositional design, relationship with the Western operatic and literary tradition, formal experimentations, and harmonic innovations. The second chapter presents a detailed analysis of a work representative of Pousseur's more recent output, Les Litanies d'Icare (1993) for piano solo, focused on Pousseur's trademark techniques of parametric, serial design (technique des groupes), and …
La Vie Dans Les Plis, Andre Rene Bregegere
La Vie Dans Les Plis, Andre Rene Bregegere
Dissertations, Theses, and Capstone Projects
La vie dans les plis was premiered at The Firehouse Space (Brooklyn, NY) on June 9, 2014, by violinist Karen Rostron and pianist Mirna Lekić. The piece's title is a reference to an eponimous collection of texts by Belgian author Henri Michaux. There is no direct connection between Michaux's text and the structure of the piece. This choice of title, in addition to its great poetic beauty, is meant as an acknowledgement of my indebtedness to Henri Michaux's writings, and, more generally, to Surrealist - and Surrealist-influenced - poetry, for revealing to me the artistic value of a bold exploration …