A COMPARATIVE STUDY OF THREE CHARACTER PIECES BY COMPOSERS FROM THE SECOND NEW ENGLAND SCHOOL AND THEIR CONTEMPORARIES: AN ANALYSIS OF GEORGE WHITEFIELD CHADWICK’S FIVE PIECES FOR THE PIANOFORTE, HORATIO PARKER’S 3 MORCEAUX CARATÉRISTIQUES (OP. 49), AND ARTHUR BATTELLE WHITING’S 3 COMPOSITIONS FOR PIANO (OP. 5)
Lee, Huijae Esther
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https://hdl.handle.net/2142/128299
Description
Title
A COMPARATIVE STUDY OF THREE CHARACTER PIECES BY COMPOSERS FROM THE SECOND NEW ENGLAND SCHOOL AND THEIR CONTEMPORARIES: AN ANALYSIS OF GEORGE WHITEFIELD CHADWICK’S FIVE PIECES FOR THE PIANOFORTE, HORATIO PARKER’S 3 MORCEAUX CARATÉRISTIQUES (OP. 49), AND ARTHUR BATTELLE WHITING’S 3 COMPOSITIONS FOR PIANO (OP. 5)
Author(s)
Lee, Huijae Esther
Issue Date
2025
Director of Research (if dissertation) or Advisor (if thesis)
Takao, Makoto Harris
Doctoral Committee Chair(s)
Sennet, Rochelle
Committee Member(s)
Tsitsaros, Christos
Tharp, Reynold
Department of Study
School of Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Date of Ingest
2025-05-09T12:54:13-05:00
Keyword(s)
Character pieces
Second New England school
Horatio Parker
Arthur Battelle Whiting
George Whitefield Chadwick
Josef Gabriel Rheinberger
Morceaux caractéristiques
American piano literature
Language
eng
Abstract
This thesis presents a comparative study of piano character pieces by three American composers: George Whitefield Chadwick (1854–1931), Horatio Parker (1863–1919), and Arthur Battelle Whiting (1861–1936). While Chadwick and Parker are considered prominent members of the so-called Second New England School, Whiting, though not a member himself, was a contemporary whose works shared similar influences. Specifically, this study examines
Chadwick’s Five Pieces for the Pianoforte, Parker’s 3 Morceaux caractéristiques (Op. 49), and Whiting’s 3 Compositions for Piano (Op. 5), highlighting the influence of German Classical and Romantic idioms shaped by their respective training with Josef Gabriel Rheinberger (1839–
1901) at the Munich Conservatory. Through an analysis of how these composers treat motive, harmonic syntax, rhythmic figures, and form, this thesis demonstrates both the continuity of German traditions in their music and the distinct ways that each composer interpreted the
character piece genre at the turn of the twentieth century.
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