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dc.contributor.authorChen, June Yin-Hsuanen_US
dc.date.accessioned2015-08-04T18:20:33Z
dc.date.available2015-08-04T18:20:33Z
dc.date.issued2012en_US
dc.date.submitted2012en_US
dc.identifier.other(ALMA)contempen_US
dc.identifier.urihttps://hdl.handle.net/2144/12321
dc.descriptionThesis (D.M.A.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.en_US
dc.description.abstractYehudi Wyner (born 1929) is a widely revered musician known for his important contribution as a composer, pianist, conductor, and educator. Wyner's electic writing style shows strong ties to neoclassicism and covers a wide range of genres such as chamber music, solo pieces for voice and instruments, and theatrical music for Jewish liturgy. Among his most important works are the Partita (1952) for piano, Friday Evening Service (1963) for cantor and chorus, On This Most Voluptuous Night (1982) for soprano and chamber ensemble. Wyner's Pulitzer-winning Chiavi in Mana is a one-movement piano concerto, composed in 2004 and published by G. Schirmer. The idea of this concerto was instigated by Robert Levin and premiered by the Boston Symphony Orchestra. Most of the concerto was composed during the summer of 2004 at the American Academy in Rome. Wyner described this concerto as a "particularly 'American' piece, shot through with vernacular elements". Not only does the concerto contain an outright boogie-woogie section, it also calls for a small orchestra featuring washboard and tom-toms. This dissertation attempts to provide a thorough understanding of the concerto through examination of musical elements. The first chapter discusses Wyner's educational background as well as his accomplishments in various areas of a stellar musical career. Chapter two discusses the formal structure of the concerto, while chapter three provides analysis of the harmonic approach and chapter four on the harmonic and rhythmic motives. Lastly, chapter five explores the performance issues associated with the soloist of the concerto.en_US
dc.language.isoen_USen_US
dc.publisherBoston Universityen_US
dc.titleAnalysis of Yehudi Wyner's piano concerto, "Chiavi in Mano"en_US
dc.typeThesis/Dissertationen_US
etd.degree.nameDoctor of Musical Artsen_US
etd.degree.leveldoctoralen_US
etd.degree.disciplineMusic Educationen_US
etd.degree.grantorBoston Universityen_US


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