Publication Date

2013-04-17

Availability

Open access

Embargo Period

2013-04-17

Degree Type

Doctoral Essay

Degree Name

Doctor of Musical Arts (DMA)

Department

Keyboard Performance (Music)

Date of Defense

2013-04-08

First Committee Member

Santiago Rodriguez

Second Committee Member

Tian Ying

Third Committee Member

Dennis Kam

Fourth Committee Member

Thomas Sleeper

Abstract

Widely recognized in Argentina as the nation’s quintessential standard piano work, Alberto Ginastera’s Piano Sonata No. 1, Op. 22 has long been an integral part of recital programs and piano competitions around the world. In recent years, the international percussion and piano communities have used arrangements of contemporary compositions to broaden the repertoire for this combination of instruments. This study sheds light on the details of the process of this arrangement. In particular, what types of percussion instruments were selected based on researching Ginastera’s few orchestral works. In addition, it documents the solo compositions up to the sonata that shed light on his use of the folk dance forms, which are incorporated in the sonata, and reveals how Ginastera uses these components so that interested percussionists can better explore the capabilities of the arrangement. The majority of information presented in this work derives from my collaboration with percussionist Dr. Brian Potts. We have been playing together for 10 years and have been developing similar arrangements in order to widen our respective repertoires This arrangement also contributes to the repertoire of percussion and piano duets.

Keywords

arrangement; Ginastera; sonata; percussion; pailodze

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