Recital document

dc.contributor.advisorDunne, Matthew
dc.contributor.authorKeplinger, Michael A.
dc.contributor.committeeMemberBrill, Mark
dc.contributor.committeeMemberBalentine, James
dc.descriptionThis item is available only to currently enrolled UTSA students, faculty or staff. To download, navigate to Log In in the top right-hand corner of this screen, then select Log in with my UTSA ID.
dc.description.abstractThis recital document studies historical, analytical, and biographical aspects of five guitar figures and some of the pieces to be performed on my masters recital. Chapter one brings forward an ongoing dispute about the instrument designation for J.S. Bach’s Lute Suites with an emphasis on Lute Suite No. 1 in E minor, BWV 996. Without investigation, it would seem as though the suites are for lute due to modern publications being titled as so. But upon further research, some of the suites, especially Lute Suite No. 1, lend themselves more towards the lute-harpsichord. Chapter two explores the influential classical guitar figure Andres Segovia as well as some insight into Manuel de Falla’s Homenaje pour le tombeau de Claude Debussy. Chapter three discusses a classical style composition written under the pseudonym Franz Werthmüller by the present day composer Tilman Hoppstock. Emphasis will be placed on the examination of accuracy of Hoppstock’s work. Chapter four discusses the inventive and influential guitarist Roland Dyens with an emphasis on his musical style. This chapter will also include insight on Dyens’ work Triaela.
dc.format.extent63 pages
dc.titleRecital document
dcterms.accessRightspq_closed of Texas at San Antonio of Music


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