Doctor of Musical Arts (DMA)
This document is an analysis of Twelve Caprices for Solo Violin, op.1 by Peter Christoskov. The analysis concentrates on the theoretical and historical aspects of the work as well as its connection to Bulgarian folk music traditions. The cycle contains twelve caprices based on various song and dance models. Each caprice is analyzed separately, with detailed information regarding the structure, harmony, melody, rhythm and meter. In addition, it establishes the relationship between the instrumental writing in the caprice and the folk music model from which it is derived. This document does not go into extensive detail about the performance and the pedagogical aspects of the cycle, although the work is very valuable in these regards. The original purpose of the Caprices was instructional in nature and therefore played an important role in the compositional process. The cycle represents a unique combination of Balkan and Western musical traditions. For this reason, they have remained as an important fixture in the repertoire of violinists to this day. The caprices enjoy an international reputation as performance and pedagogical pieces. The elements of the musical folklore are given historical and theoretical context from a Western point of view. The analysis reveals this work to be filled with imagination, creativity, energy, lyricism, and an interesting variety of instrumental and compositional techniques.
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Iltcheva, Borislava A., "Peter Christoskov's Twelve Caprices for Solo Violin, opus 1: a historical and theoretical analysis of the work and its connection to Bulgarian folk music" (2006). LSU Doctoral Dissertations. 1805.