A stylistic analysis of selected piano works of Louis Moreau Gottschalk
| dc.contributor.advisor | Johnson, Roy A. | en_US |
| dc.contributor.author | Dicus, Kent Timothy, 1958- | |
| dc.creator | Dicus, Kent Timothy, 1958- | en_US |
| dc.date.accessioned | 2013-03-28T10:14:49Z | |
| dc.date.available | 2013-03-28T10:14:49Z | |
| dc.date.issued | 1988 | en_US |
| dc.identifier.uri | http://hdl.handle.net/10150/276718 | |
| dc.description.abstract | Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through utilization and expansion of the basic form of ABA Coda. Through his use of varied ABA form with repeated and parallel passages, Gottschalk developed his particular style of phrasing, texture, and rhythm, all of which figure prominently in his works. Four pieces are examined with these concepts as the basis for analysis. | |
| dc.language.iso | en_US | en_US |
| dc.publisher | The University of Arizona. | en_US |
| dc.rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. | en_US |
| dc.subject | Piano music -- Analysis, appreciation. | en_US |
| dc.subject | Gottschalk, Louis Moreau, 1829-1869. -- Piano music. | en_US |
| dc.title | A stylistic analysis of selected piano works of Louis Moreau Gottschalk | en_US |
| dc.type | text | en_US |
| dc.type | Thesis-Reproduction (electronic) | en_US |
| dc.identifier.oclc | 19012310 | en_US |
| thesis.degree.grantor | University of Arizona | en_US |
| thesis.degree.level | masters | en_US |
| dc.identifier.proquest | 1333588 | en_US |
| thesis.degree.discipline | Graduate College | en_US |
| thesis.degree.discipline | Music | en_US |
| thesis.degree.name | M.M. | en_US |
| dc.identifier.bibrecord | .b16695173 | en_US |
| refterms.dateFOA | 2018-06-14T14:22:08Z | |
| html.description.abstract | Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through utilization and expansion of the basic form of ABA Coda. Through his use of varied ABA form with repeated and parallel passages, Gottschalk developed his particular style of phrasing, texture, and rhythm, all of which figure prominently in his works. Four pieces are examined with these concepts as the basis for analysis. |
