CAPTURING SOUND: THE METHODS OF ARRANGING AND EXECUTING INSTRUMENTAL SOUNDS BETWEEN ORCHESTRA AND PIANO

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dc.contributor.advisorSloan, Ritaen_US
dc.contributor.authorKoelzer, Christopheren_US
dc.contributor.departmentMusicen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2020-09-25T05:33:16Z
dc.date.available2020-09-25T05:33:16Z
dc.date.issued2020en_US
dc.description.abstractThe piano stands today as a romantic instrument, designed to produce large amounts of sound, a wide range of dynamic contrasts, and infinite voicing possibilities. The piano’s ability to create and sustain harmonies across its over seven- octave range provides composers a single instrument to express the harmonic expanses of an entire orchestra. Through the nineteenth century, composers around the world imbued orchestral characteristics into their pianistic writing. In contrast, some composers took the opposite route and began orchestrating solo piano works. This dissertation explored several orchestral works transcribed for piano across selected genres in order to portray the techniques necessary to most accurately represent the intricate collaboration of orchestral textures and production of sound through the piano. The pieces performed were as follows: Claude Debussy’s Nocturnes, arranged by Maurice Ravel for two piano, four-hands; Igor Stravinsky’s Le sacre du printemps, arranged by the composer for one piano, four-hands; Johannes Brahms’ Variations on a Theme of Haydn, originally scored for two pianos, four-hands; and Sergei Rachmaninoff’s Symphonic Dances, arranged by the composer for two pianos, four- hands. Collaborators included pianists Dr. Nadežda Mijatović-Sekicki and Dr. Alexei Ulitin. These works were presented at the University of Maryland’s Gildenhorn Recital Hall on September 30, 2018, and December 8, 2019. In lieu of performing the third D.M.A. lecture recital, this dissertation encompassed additional chapters of detailed processes and suggestions on how to facilitate transcriptions and reductions at the piano. Recital recordings can be found in the Digital Repository at the University of Maryland (DRUM).en_US
dc.identifierhttps://doi.org/10.13016/tgxf-lnji
dc.identifier.urihttp://hdl.handle.net/1903/26423
dc.language.isoenen_US
dc.rightsNOTICE: Recordings accompany in this record are available only to University of Maryland College Park faculty, staff, and students and cannot be reproduced, copied, distributed or performed publicly by any means without prior permission of the copyright holder.
dc.subject.pqcontrolledPerforming artsen_US
dc.subject.pqcontrolledMusicen_US
dc.subject.pqcontrolledMusical compositionen_US
dc.subject.pquncontrolledAccompanyingen_US
dc.subject.pquncontrolledCollaborative Pianoen_US
dc.subject.pquncontrolledOrchestrationen_US
dc.subject.pquncontrolledReductionen_US
dc.titleCAPTURING SOUND: THE METHODS OF ARRANGING AND EXECUTING INSTRUMENTAL SOUNDS BETWEEN ORCHESTRA AND PIANOen_US
dc.typeDissertationen_US

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