|Institution:||University of Cincinnati|
|Department:||College-Conservatory of Music : Piano|
|Keywords:||Music; Prokofiev; Piano; Transcription; Arrangement; Piano transcription; Keyboard transcription; Transcribing techniques; Prokofiev&8217; s piano music; Prokofiev&8217; s compositional habits; Prokofiev's musical styles|
|Full text PDF:||http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153173318|
Prokofiev’s output consists of a large quantity of transcriptions which are arranged from his own work. Particularly during his Soviet period (1936–1953), there are increasing numbers of transcriptions from his ballet, opera, and even film scores. Many have more than one transcription. Transcriptions make up one third of his piano works. Except for four sonatas, Prokofiev’s original piano compositions were replaced by piano transcriptions completely in the Soviet period. This document discusses Prokofiev's motivations for creating piano transcriptions, categorizes these transcriptions, and analyzes his transcribing style and techniques. As a result of his compositional habit, many of Prokofiev’s works have several versions: original full score, piano reduction score, and orchestral and instrumental transcriptions. The composer’s transcribing techniques are analyzed and discussed in decoration, refinement, simplification, organization, and melodic treatment through the comparison of different versions of the work.