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Proquest Dissertations The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. 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. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Kgher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zedi Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 THE USE OF THE GUSSANDO IN PIANO SOLO AND CONCERTO COMPOSITIONS FROM DOMENICO SCARLATH TO GEORGE CRUMB by Shuennchin Lin Copyright © Shuennchin Lin 1997 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE bi Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1997 UMX Number: 980S783 Copyright 1997 by- Lin, Shuennchin All rights reserved. UMI Microform 9806783 Copyright 1997, by UMI Company. All rights reserved. This microform eiiition is protected against miauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by SHUENNCHIN LIN entitled THE USE OF THE 6LISSAND0 IN PIANO SOLO AND CONCERTO COMPOSITIONS FROM DOMENICO SCARLATTI TO GEORGE CRUMB and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of DOCTOR OF MUSICAL ARTS icholas Zumbro Dat^ r Date Date Rosenblatt Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. Dissertation Direc Nicholas Zumbro Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: __L_1 4 TABLE OF CONTENTS LIST OF EXAMPLES 5 LIST OF TABLES 8 LISTOFHGURES 9 ABSTRACT 10 Chapter 1. Introduction 12 Chapter 2. The Eighteenth and Nineteenth Centuries 22 Domenico Scarlatti 23 Ludwig van Beethoven and Carl Maria von Weber 27 Franz Liszt 32 Johannes Brahms and Camille Saint-Sa&is 42 Bedrich Smetana, Mily Balakirev, Edvard Grieg, and Edward Elgar 47 Chapter 3. The Twentieth Century 55 Oaude Debussy and Maurice Ravel 56 Manuel de Falla and B&a Bartdk 67 Heitor Villa-Lobos, George Gershwin, and Aaron Copland 76 Igor Stravinsky, Serge FrokoBev, and Dmitri Shostakovich 88 Paul Hindemith, Michael Tippett, Olivier Messiaen, and Benjamin Britten 102 George Crumb 110 Chapter 4. Conclusions 118 The Use of the Glissando 118 Summary of the Glissando's Historical Development 120 The Future of the Glissando 122 APPENDIX A: Examples of Glissandi 125 APPENDIX B: The Final Spin—25,000 B. C 133 REFERENCES 139 5 LIST OF EXAMPLES Example 1: Slide 14 Example 2: F. Qiopiiv Poloaaiser Op. 53 21 Example 3: D. Scarlatti, Sonafii, K. 468 23 Example 4: D. Scarlatti, Sonafca, K. 487 24 Examples: D.Scarlatti,Sonata,K.487.(manuscript) 24 Example 6: D. Scarlatti, Sonafa, K. 379 25 Example 7: L. van Beethoven, Kano Concerto No. 1 in C Major, Op. 15,1 27 Example 8: L. van Beetfioven, Kano Sonata, Op. 53, Rondo 28 Example 9: C. M. von Weber, Piano Concerto No. 1, Op. 11, Finale. 29 Example 10: C. M. von Weber, Concertstiick, Op. 79 31 Example 11: C. M. von Weber, Concertstiickr Op. 79 31 Example 12: F. Lisz^ Magyar Dallok—UngarisAe National-Melodien, No. 9. 33 Example 13: F. Liszt, Paganini Etude No. 5 "La Chasse." 34 Example 14: F. Liszt, Hungarian Fantasia 35 Example 15: F. Liszt, Hungarian Rhapsody No. 14. 36 Example 16: F. Lisz^ Hungarian Rhapsody No. 15. 36 Example 17: F. Liszt Mephisto Waltz No. 1 39 Example 18: F. Liszt, Concerto in A Major. 40 Example 19: J. Brahms, Paganini Variations, I, Var. 13 43 Example 20: J. Brahms, Ohgarische Tanze No. 8. 44 Example 21: C. Saint-Saens, Piano Concerto No. 5, HI 46 Example 22: C. Saint-Saens, Aquarium from Le Camaval des animaux. 47 Example 23: B.Smeiana, Ballade in E minor. 48 Example 24: B. Smetana, Polka in A minor. 48 Example 25: M. Balaldrev, Islamey. 50 Example 26: E. Grieg, Hailing (Nonvegischer Tanz) from Lyric Pieces, Op. 71 51 Example 27: E. Elgar, Concert Allegro. 52 Example 28: C. Debussy, Feux d'artiBce. 57 Example 29: C. Debussy, Etude, No. 6. 58 Example 30: C. Debussy, Pour le Piano, Prelude. 59 Example 31: C. Debussy, Suite Bergamasque, Menuet 59 Example 32: M. Ravel, Jieux d'eau 62 Example 33: M. Ravel, Una barque sw L'oc6an 63 Example 34: M. Ravel, A/inaradb de/^radoso. 64 Example 35: M. Ravel, Gaspard dela Nuit Ondine. 64 Example 36: M, Ravel, Les Entretiens de la Belle et de la Bite from MaMirel'Oye. 65 Example 37: M. Ravel, Concerto for Left Hand. 66 Example 38: M. Ravel, Gaspard de la Nuit Ondine. 67 6 LIST OF EXAMPLES- Continued Example 39: M. de Falla, Fantasia Baetica 68 Example 40: B.Bart6k, Rhapsody, Op. 1 71 Example 41: B. Bartdk, Tanz-Suite, L 72 Example 42: B. Bartdk, Sonata, I. 73 Example 43: B. Bart6k, Piano Concerto No. 1,1 73 Example 44: B. Bartdk, Piano Concerto No. 1, n 74 Example 45: B. Bartdk, Piano Concerto No. 2,1 75 Example 46: B. Bart6k, Piano Concerto No. 3, IE. 76 Example 47: H. Villa-Lobos, Simples Coletanea, Rhodante. 78 Example 48: H. Villa-Lobos, Dansa Do Indio Branco from Suite Ciclo Brasileiro. 78 Example 49: H. Villa-Lobos, Dansa Do Indio Branco from Suite Ciclo Brasileiro. 79 Example 50: H. Villa-Lobos, Moreninha from Suite Prole Do Bebe. 80 Example 51: H. Villa-Lobos, Rudepoema 81 Example 52: H. Villa-Lobos, Momo Precoce. 82 Example 53: G, Gershwin, Rhapsody in Blue. 85 Example 54: G. Gershwin, Concerto inF,l 85 Example 55: A. Copland, Piano Concerto. 87 Example 56: A. Copland, Piano Fantasy. 88 Example 57: L Stravinslg^, Trois Mouvements de P^trouchka, IH 90 Example 58: S. Prokofiev, Piano Concerto No. 5, II 91 Example 59: S. Prokofiev, Piano Concerto No. 5, II 92 Example 60: S. Prokofiev, Piano Concerto No. 5,1 92 Example 61: S. Prokofiev, Piano Concerto No. 1, L 93 Example 62: S. Prokofiev, Piano Concerto No. 2, III 94 Example 63: S. Prokofiev, Piano Concerto No. 3,1 94 Example 64: S. Prokofiev, Piano Concerto No. 3, HI 95 Example 65: B. Bartdk, Piano Concerto No. 2, n 95 Example 66: S. Prokofiev, Piano Concerto No. 4, HI 96 Example 67: S. Prokofiev, Sarcasmes, Op. 17, No. 4 97 Example 68: S. Prokofiev, Toccata, Op. 11 97 Example 69: S. Prokofiev, Suggestion Diabolique, Op. 4, No. 4 98 Example 70: S. Prokofiev, Ten Pieces, Prelude, Op. 12, No. 7 99 Example 71: D. Shostakovich, Piano Sonata No. 1, Op. 12 101 Example 72: D. Shostakovich, Piano Sonata No. 1, Op. 12 101 Example 73: D. Shostakovich, Piano Concerto No. 1, Op. 35, IV 102 Example 74: P. Hindemith, 1922 Suite (Or Klavier, II 103 Example 75: M. Tippet, Piano Sonata No. 2 105 Example 76: O. Messiaen, Pne/ude. Les sons impalpables du reve 107 Example 77: S. Prokofiev, Piano Concerto No. 5, V 107 7 LIST OF EXAMPLES- Continued Example 78: O. Messiaen, Oe de Feu 1 108 Example 79: B. Britten, Piano Concerto No. 1, Op. 13 109 Example 80: B. Britten, Diversion on a Theme for Left Hand and Orchestra, Op. 21 110 Example 81: G.
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