The preludes and fugues of J.K.F. Fischer, J.S. Bach, Paul Hindemith, and Dimitri Shostakovitch

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dc.contributor.advisorLewis, H. Merrills
dc.creatorParton, James Kenton
dc.date.accessioned2022-11-01T21:57:02Z
dc.date.available2022-11-01T21:57:02Z
dc.date.copyright1956-06
dc.date.issued1956
dc.description.abstractIn 1951 Dimitri Shostakovitch completed his Twenty- Four Preludes and Fugues, Opus 87, one in each of the major and minor keys. This work is unusual in that it is by one of the leading contemporary composers, and is in a form which although famous has been by no means widely used. The only other composer of the Twentieth Century, so far as I have found, who has used this form is Paul Hindemith, whose Ludus Tonalis was completed in October, 1942. The Well-Tempered Clavier, by J. S. Bach, is by far the most famous work in this form, and It was preceded by the Ariadne Musica, by J. K. F. Fischer. The latter Is thought to have had a more than incidental influence on the Bach work. The purpose of this paper is to compare these four works, two from the Twentieth Century and two from the Eighteenth Century, to examine and determine which devices each composer has used, and suggest how they may have influenced each other. [...]
dc.description.departmentMusic, Moores School of
dc.format.digitalOriginreformatted digital
dc.format.mimetypeapplication/pdf
dc.identifier.other14084886
dc.identifier.urihttps://hdl.handle.net/10657/12527
dc.language.isoen
dc.rightsThis item is protected by copyright but is made available here under a claim of fair use (17 U.S.C. Section 107) for non-profit research and educational purposes. Users of this work assume the responsibility for determining copyright status prior to reusing, publishing, or reproducing this item for purposes other than what is allowed by fair use or other copyright exemptions. Any reuse of this item in excess of fair use or other copyright exemptions requires express permission of the copyright holder.
dc.titleThe preludes and fugues of J.K.F. Fischer, J.S. Bach, Paul Hindemith, and Dimitri Shostakovitch
dc.type.dcmiText
dc.type.genreThesis
dcterms.accessRightsThe full text of this item is not available at this time because it contains documents that are presumed to be under copyright and are accessible only to users who have an active CougarNet ID. This item will continue to be made available through interlibrary loan.
thesis.degree.collegeCollege of Arts and Sciences
thesis.degree.departmentMusic, Department of
thesis.degree.disciplineMusic
thesis.degree.grantorUniversity of Houston
thesis.degree.levelMasters
thesis.degree.nameMaster of Music

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