Lera Auerbach's 24 Preludes for Violin and Piano, Op. 46: Unity and Musical Narrative
This treatise identifies elements of large-scale unity in Lera Auerbach's 24 Preludes for Violin and Piano, Op. 46. The prelude genre has evolved through history from its use as an introductory piece into a piece with diverse styles and forms. Largely due to the impact of Chopin's 24 Prelu...
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| Language: | English English |
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Florida State University
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| Online Access: | http://purl.flvc.org/fsu/fd/FSU_migr_etd-4330 |
| Summary: | This treatise identifies elements of large-scale unity in Lera Auerbach's 24 Preludes for Violin and Piano, Op. 46. The prelude genre has evolved through history from its use as an introductory piece into a piece with diverse styles and forms. Largely due to the impact of Chopin's 24 Preludes, Op. 28, composers began composing preludes as short independent character pieces that were meant to stand alone. Chopin's was the first collection of 24 preludes that seemed to make more sense as a large-scale piece rather than 24 individual pieces. Auerbach wrote her 24 Preludes with a distinct concept of large-scale unity. This treatise explores the use of direct quotation, two half-step motives, and musical elements of narrative to show the large-scale unity in this piece. === A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of
Music. === Spring Semester, 2010. === April 1, 2010. === Musical Narrative, 24 Preludes, Lera Auerbach === Includes bibliographical references. === Alexander Jimenez, Professor Directing Treatise; Alice-Ann Darrow, University Representative; Corinne Stillwell, Committee Member; Greg Sauer, Committee Member. |
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