Note:This thesis is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of a recital of music related to the thesis topic.

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Title:A stylistic and pedagogical study of Reinhold Glière's Three Mazurkas, Op. 29 and selected pieces from Twenty-Five Preludes, Op. 30
Author(s):Kim, Yunhee
Advisor(s):Tsitsaros, Christos
Contributor(s):Hobson, Ian; Heiles, William; Mattax Moersch, Charlotte
Department / Program:School of Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
piano pedagogy
Reinhold Glière
interpretative stylistic features
Yunhee Kim
Abstract:This study discusses the following compositions for solo piano by Reinhold Glière (1875-1956): Three Mazurkas, Op. 29 (1906) and selected pieces from the Twenty-Five Preludes, Op. 30 (1907). Like some of his peers, Glière was a composer and pianist at the same time, and he wrote an extensive number of piano works, especially sets of small pieces. His collections of small pieces include Twenty-Five Preludes, Op. 30, Three Mazurkas, Op. 29, and multiple sets of Morceaux and Romances. His compositions reflect a continuation of the traditional Russian Romanticism, which was inherited from Chopin. Unlike his large-scale works, Glière’s piano compositions have been nearly neglected and unexplored in the scholarly literature. This project provides both a stylistic study and a pedagogical overview of the Three Mazurkas and Twenty-Five Preludes. More specifically, I undertake analysis of the forms, harmonies, melodic content, textures and rhythms of the compositions. Furthermore, I explore various performance issues as well as offer a pedagogical overview of them. This thesis consists of four chapters. The first chapter serves as an introduction, containing Glière’s biography and an overview of his compositions and writing style. The second chapter provides a comprehensive analysis and pedagogical examination of the Three Mazurkas, Op. 29. The third chapter provides a detailed analysis of selected preludes from the Twenty-Five Preludes, Op. 30 and performance considerations that must be confronted on account of Glière’s extreme virtuosic writing. The fourth chapter provides a conclusion, summarizing the compositional style in Glière’s piano music.
Issue Date:2020
Publisher:School of Music, College of Fine and Applied Arts, University of Illinois at Urbana-Champaign
Genre:Dissertation / Thesis
Rights Information:Copyright 2020 Yunhee Kim
Date Available in IDEALS:2020-07-09

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