<resource xmlns:datacite="http://datacite.org/schema/kernel-4">
<creators>
<creator>
<creatorName>Chlebus, Maria</creatorName>
<givenName>Maria</givenName>
<familyName>Chlebus</familyName>
</creator>
</creators>
<contributors>
<contributor contributorType="Other">
<contributorName>Schmidinger, Leonhard (Anton Bruckner Privatuniversität)</contributorName>
<givenName>Leonhard</givenName>
<familyName>Schmidinger</familyName>
</contributor>
<contributor contributorType="Other">
<contributorName>Birch, Sven (Anton Bruckner Privatuniversität)</contributorName>
<givenName>Sven</givenName>
<familyName>Birch</familyName>
</contributor>
</contributors>
<titles>
<title>Béla Bartók, George Crumb and Steve Reich</title>
<title titleType="Subtitle">an analysis of their works for two pianos and percussion, with an emphasis on the use of rhythm and percussion instruments</title>
</titles>
<descriptions>
<description descriptionType="Other">Masterarbeit
Masterstudium Schlagwerk
RA 066 732</description>
<description descriptionType="Other">ABSTRACT:

In this essay the author analyzes three important works written for two pianos and percussion from a perspective of a percussion player. The three pieces include Béla Bartók’s Sonata for Two Pianos and Percussion, George Crumb’s Music for aSummer Evening (Makrokosmos III) and Steve Reich’s Quartet for two pianos and two vibraphones.
The analysis will focus on the parallels between pianos and percussion, the impact these compositions had on development of percussion instruments and the musicians behind them, as well as the importance of rhythm in music.</description>
</descriptions>
<resourceType resourceTypeGeneral="Text">PDFDocument</resourceType>
<language>en</language>
<dates>
<date dateType="Created">2019-04-16T10:58:09.174Z</date>
</dates>
<sizes>
<size>3638103 b</size>
</sizes>
<formats>
<format>application/pdf</format>
</formats>
<rightsList>
<rights>All rights reserved</rights>
</rightsList>
</resource>
