Doctoral Recital: 1987-04-27 – Yeou-Huey Luo, piano
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- Mozart: Neun Variationen ��ber ein Menuett von Duport, K.V. 573 0:08:46
- Rachmaninoff: Preludes, Op. 23, No. 4 in D Major 0:04:24
- Rachmaninoff: Preludes, Op. 32, No. 8 in a minor 0:02:00
- Rachmaninoff: Preludes, Op. 32, No. 12 in g# minor 0:02:34
- Rachmaninoff: Preludes, Op. 23, No. 7 in c minor 0:02:36
- Debussy: Preludes, Bk. II, Les Fees son d'exquises danseuses 0:02:38
- Debussy: Preludes, Bk. II, Bruy��res 0:02:40
- Debussy: Preludes, Bk. II, General Lavine -- eccentric 0:02:19
- Debussy: Preludes, Bk. II, La terrasse des audience du clair de lune 0:04:09
- Debussy: Preludes, Bk. II, Hommage �� S. Pickwick Esq. P.P.M.P.C. 0:02:15
- Debussy: Preludes, Bk. II, Canope 0:03:02
- Debussy: Preludes, Bk. II, Les tierces alternees 0:02:28
- Brahms: Scherzo in eb minor, Op. 4 0:09:21
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School of Music Program Book 1986-1987, Volume 1: Fall/Spring Performances (Book)
Fall/spring performances program book from the 1986-1987 school year at the North Texas State University School of Music.
Program: https…
The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others (Thesis or Dissertation)
One of the most important compositional theories of Alexander Tcherepnin (1899-1977), Russian-American composer and pianist, is the Eurasian ideology, which was a result of the influence of Eastern culture. Inspired by this theory, Tcherepnin not only extricated himself from his own compositional techniques, but also intensified his search for musical folklore. In April, 1934, he began a world tour which was to include China, Japan, Singapore, the Philippines, Egypt, and Palestine, to search for "musical folklore." He became so fascinated with the culture of ancient China that he cancelled the rest of his arrangements, and, except for visits to Japan, he remained in China for three years, until the outbreak of the Sino-Japanese War in July, 1937. During his three-year stay in China, Tcherepnin was greatly attracted to Chinese culture, and as a result, Chinese culture influenced his music to a significant degree. This essay examines the manner in which Tcherepnin's music was influenced by his experiences in China. In order to precisely analyze the close affiliation between Chinese musical elements and Tcherepnin's "Chinese Mikrokosmos," many original Chinese sources proved indispensable in this study. These sources include Chinese folk music, theater music, instrumental music, religious music, and Chinese periodicals and newspapers that reported Tcherepnin's activities in China (1934-7). The organization of this dissertation as follows: Chapter I provides a brief biographical sketch of Tcherepnin, traces his activities in China, and introduces one of his greatest "Chinese" compositions, "Chinese Mikrokosmos," which represents the fruits of his labors to scrutinize and absorb Chinese musical language. Chapters II and III are devoted to exploring how Chinese folk and instrumental music inspired Tcherepnin's "Chinese Mikrokosmos." Chapter IV summarizes this study.
The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others - ark:/67531/metadc332339
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Doctoral Recital: 1987-04-27 – Yeou-Huey Luo, piano, audio recording, April 27, 1987; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc917326/: accessed June 6, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Music Library.