Technical innovations in selected keyboard works of Scarlatti, Mozart, and Schumann

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dc.contributor Chance, Kevin
dc.contributor Cummins, Linda
dc.contributor Robinson, Thomas
dc.contributor Fleming, Susan C.
dc.contributor McElroy, Tricia A.
dc.contributor.advisor Engebretson, Noel J.
dc.contributor.author Lee, Jiin
dc.date.accessioned 2017-03-01T17:36:19Z
dc.date.available 2017-03-01T17:36:19Z
dc.date.issued 2015
dc.identifier.other u0015_0000001_0002043
dc.identifier.other LEE_alatus_0004D_12366
dc.identifier.uri https://ir.ua.edu/handle/123456789/2440
dc.description Electronic Thesis or Dissertation
dc.description.abstract This manuscript is a study of four piano works of Scarlatti, Mozart, and Schumann, which I recorded as part of my D.M.A final project. The works are Scarlatti Sonatas, K. 141 in D Minor and K. 380 in E Major; Mozart Piano Sonata, K. 576 in D Major, and Schumann Carnaval, Op. 9. These works were chosen because each presents technical innovations in keyboard playing for its time and instrument. Scarlatti’s output for the solo keyboard is comprised almost entirely of sonatas. Although he did not collect the sonatas within the framework of the Baroque keyboard suite, each of his sonatas has its own distinctive character, and that character is sometimes marked by virtuosity and innovations in keyboard technique. His sonatas K. 141 in D Minor and K. 380 in E Major represent technical innovations using guitar technique, rapid repeated notes, imitating horn calls and Spanish dance rhythms. Mozart’s last Piano Sonata, K. 576 in D Major, is one of his most difficult works for keyboard and occupies a unique place in his repertoire. Before K. 576, Mozart’s keyboard sonatas primarily utilized homophonic textures, but this last sonata is largely contrapuntal, and also among his most virtuosic. Schumann’s Carnaval, Op. 9, is a collection of character pieces, each identified by its own title. Schumann presented the different personalities drawn from his dual fantasy characters, his colleagues and friends, and the Italian Commedia dell’arte figures. The work is technically demanding, and Schumann strives to fully realize the expressive range of the piano. He expands keyboard techniques by writing intervals and chords that require a much wider stretch of the hand, using a wider range of the keyboard, and introducing new pedal techniques.
dc.format.extent 42 p.
dc.format.medium electronic
dc.format.mimetype application/pdf
dc.language English
dc.language.iso en_US
dc.publisher University of Alabama Libraries
dc.relation.ispartof The University of Alabama Electronic Theses and Dissertations
dc.relation.ispartof The University of Alabama Libraries Digital Collections
dc.relation.hasversion born digital
dc.rights All rights reserved by the author unless otherwise indicated.
dc.subject.other Music
dc.subject.other Performing arts
dc.title Technical innovations in selected keyboard works of Scarlatti, Mozart, and Schumann
dc.type thesis
dc.type text
etdms.degree.department University of Alabama. School of Music
etdms.degree.discipline Music
etdms.degree.grantor The University of Alabama
etdms.degree.level doctoral
etdms.degree.name D.M.A.


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