|Orchestral color in Richard Strauss’s Lieder: enhancing performance choices of all of Strauss’s Lieder through a study of his orchestrated Lieder
||Strauss was a major composer of Lieder, with more than 200 published songs composed between 1870 and 1948, many of which belong to the standard song repertoire. Strauss's lieder are distinctive because they reflect his simultaneous ...
|Leo Kraft's Three fantasies for flute and piano: a perfomer's analysis
||The Doctoral Performance and Research submitted by Konstantza Chernov, under the direction of Dr. James Douglass at The University of North
Carolina at Greensboro (UNCG), in fulfillment of the requirements for the degree Doctor of Musical Arts, cons...
|Herbert Howells’ A garland for De la Mare twelve songs for voice and piano: contexts for performance
||Because British composer Herbert Howells (1892-1983) decided in mid-career to concentrate his creative energies upon Anglican liturgical music, his many notable contributions to secular genres are often overlooked. This is certainly the case for A Ga...
|A reference for the art songs of Dora Pejacevic; with English translations of the song texts
||Dora Pejacevic (1885-1923) is recognized as an influential figure in the musical history of her native country, Croatia. In addition to composing a number of works for solo piano, voice, and violin, her compositional output includes, among other work...
|James DeMars’s Concerto for Violin: the process of creating the orchestral reduction
||Orchestral reductions for soloist and piano have been used for generations to aid the rehearsal process and expand performance opportunities for concertos. Many do not accurately represent the orchestral score or are not pianistic. As modern composer...