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dc.contributor.authorKnepp, Richard R
dc.date.accessioned2014-03-04T19:59:38Z
dc.date.available2014-03-04T19:59:38Z
dc.date.issued2011-05
dc.identifier.otherknepp_richard_r_201105_dma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/knepp_richard_r_201105_dma
dc.identifier.urihttp://hdl.handle.net/10724/27194
dc.description.abstractAndrés Segovia was the primary voice in the world of classical guitar performance during the first half of the twentieth-century. He collaborated with various composers, including Manuel M. Ponce, in an effort to expand the guitar’s repertoire. Many of the composers Segovia worked with did not play the guitar, making his editorial influence a necessity. This document explores a possible link between the performer’s collaborative influence and the composer’s interpretive intent. An examination of the Segovia style reveals an interpretive approach that is based on a consistent method for fingering and arranging music on the classical guitar. The first performance edition in this document details the Segovia style by modifying the urtext based on two sources: Segovia’s published performance edition and a recording made by Segovia over thirty years after the initial publication date. The second performance edition applies the Segovia style to a composition that has survived without Andrés Segovia’s editorial influence.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectAndrés
dc.subjectSegovia
dc.subjectManuel
dc.subjectPonce
dc.subjectSonatina
dc.subjectMeridional
dc.subjectHomenaje
dc.subjectTárrega
dc.subjectclassical guitar
dc.subjectperformance edition
dc.subjectstyle
dc.subjectcollaboration
dc.titleTracing the Segovia style
dc.title.alternativecollaboration and composition in the guitar sonatinas of Manuel M. Ponce
dc.typeDissertation
dc.description.degreeDMA
dc.description.departmentSchool of Music
dc.description.majorMusic
dc.description.advisorDavid Haas
dc.description.committeeDavid Haas
dc.description.committeeDavid Starkweather
dc.description.committeeLeonard Ball


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