Browsing by Subject "Toccatas"

Now showing 1 - 7 of 7
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    Doctoral thesis recital (composition)
    (2011-09-23) Stanton, Zachary Kane; Not available
    Scenic route -- Toccata -- Beautiful journey -- A different shade of blue -- Our father -- Ascend -- Concerto for horn and chamber ensemble.
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    Doctoral thesis recital (piano)
    (2020-10-20) Wang, Cheng (Pianist); Unable to determine
    Estampes / Claude Debussy -- Toccata in C minor, BWV 911 / Johann Sebastian Bach -- Piano sonata in C major, op. 53 / Ludwig van Beethoven
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    Doctoral thesis recital (piano)
    (2023-10-19) Hourez, Jeanne; Unable to determine
    Piano sonata / Aaron Copland -- Images, book 1 / Claude Debussy -- Ballade / Kaiji Saariaho -- Theme and variations / Lili Boulanger -- Toccata / Emma Lou Diemer.
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    Master's thesis recital (organ)
    (2022-10-22) Petersen, Chase; Unable to determine
    Toccata in F major / Dietrich Buxtehude -- Sonata II op. 19 / August Gottfried Ritter -- Prélude, adagio et choral varié sur le thème du Veni Creator / Maurice Duruflé -- Five dances / Calvin Hampton
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    Master's thesis recital (organ)
    (2011-10-10) Ludwick, Charles; Not available
    Toccata in C-dur / Franz Schmidt -- Variations on a quiet theme (1952, rev. 1995) / Kent Kennan -- Trio sonata II in C minor, BWV 526 / Johann Sebastian Bach -- Variations on Mein junges Leben hat ein End / Jan Pieterszoon Sweelinck -- Final in B-flat major, op. 21 / Cesar Franck.
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    Serrated edge : toccata for orchestra
    (2006) Dickinson, Andrew Philip; Grantham, Donald, 1947-
    Serrated Edge is constructed in one continuous movement of approximately twelve and a half minutes in length. The workʼs direct, aggressive, almost mechanistic character was stimulated by the authorʼs interest in the sound and intensity of several notable musical works of the 1920ʼs and 1930ʼs, in particular those that espoused a constructivist ideal. For the author, two works - Alexander Mosolovʼs Zavod and Carlos Chavezʼ H.P. (which combined constructivism with a more populist appeal) epitomize the creative background of Serrated Edge. However, unlike those two works, Serrated Edge does not contain programmatic elements. Rather, it employs a rhetorical structure, using motivic gesture and development to generate musical narrative. The musical motives used are compact and relatively simple, with distinctive melodic and rhythmic shapes. These motives are manipulated economically: through changes in orchestration, extension by repetition, transposition, and inversion, and through fragmentation and combination with other motives. While no rigorous (i.e. serial) predetermination of pitch is involved, the compositional process was influenced significantly by some of the basic ideals of that process - namely, the economy and overall uniformity of material. It was the authorʼs intent that these basic ideals provide a structural cohesion to the work, as well as reflect the workʼs creative influences.
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    Style and interpretation in the seven keyboard toccatas of J.S. Bach, BWV 910-916
    (2012-12) Mace, Abigail; Olivieri, Guido, 1966-; Garrett, Nancy; Allen, Gregory; Ayrton, Patrick; Buhler, James; Mollenauer, Robert; Nel, Anton
    The keyboard toccatas of J. S. Bach, BWV 910-916, present a formidable challenge of interpretation to the modern-day performer. These works contain some of the most unusual compositional techniques to be found in Bach’s output due to their use of an improvisatory, virtuosic style inherited from the seventeenth century. While pianists of today are trained to perform with perfect fidelity to the score, the treatises from the time of Bach point to a rhythmically free approach to the improvisatory features of these toccatas. The goal of this treatise is to explore how the historical tradition from which Bach’s toccatas emerged influenced their stylistic characteristics with the purpose of applying this information to create an informed performance by today’s interpreters. In this effort, this treatise focuses on several broad categories in the process of understanding the inspiration and, therefore, the interpretation of these works. These categories include the genesis of the toccata as a genre, the compositional techniques associated with the toccata, Bach's personal contribution to the genre, and the interpretation of Bach's toccatas specifically.