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Zihao Zhou

1"Interview with Ellen Taaffe Zwilich." by Anthony J. Palmer, Philosophy of Music


Education Review, vol. 19 no. 1, 2011, p. 80-99.
https://muse.jhu.edu/article/440759.
She discusses her early experiences in school and how they formed her attitudes and
understanding of music and life in general. Also, she shares with music educators her
views that come from these early experiences and how students' lives can be
enhanced through music.

“Ellen Taaffe Zwilich - Music as Lifelong Discovery” by Cheryl Heidel. Teaching Music,
Vol. 8, No. 5, 2001, pp. 42-45.
https://openmusiclibrary.org/article/712007/.
This interview about the experience of composing music, her feelings on having
musicians perform her music, her advice to "budding" composers, and the role of
music programs during her childhood.

2. Dustin Kyle Mullins. “A COMPARISON OF RHYTHM, ARTICULATION, AND HARMONY


IN JEANMICHEL DEFAYE’S À LA MANIÈRE DE STRAVINSKY POUR TROMBONE ET
PIANO TO COMMON COMPOSITIONAL STRATEGIES OF IGOR STRAVINSKY”. D.M.A.
diss. UNIVERSITY OF NORTH TEXAS 2014.
https://digital.library.unt.edu/ark:/67531/metadc699846/m2/1/high_res_d/disserta
tion.pdf full text available online.
This dissertation is comparison of rhythm, articulation and harmony in Stravinsky
different works.

Kyle Szabo. “The Evolution of Style in the Neoclassical Works of Stravinsky”. D.M.A
diss. JAMES MADISON UNIVERSITY 2011.
https://commons.lib.jmu.edu/diss201019/83/ full text available online.
In his neoclassical period of composition, Stravinsky developed highly refined
methods of formal construction, harmonic management, and use of counterpoint.
Careful analysis of several neoclassical and transitional works serves to demonstrate
Stravinsky’s innovative methods of voice leading, economy of pitch class set material,
and ingenuity in redefining Classical era forms. Stravinsky’s Russian ballets are
stylistically focused on practical and stage-oriented formal structures, stratified
counterpoint, and thematic content originating in folk materials.

Forrest Wakeman. “Stravinsky, the Piano, and the Genesis of The Firebird: a History
and Performance Practice”. D.M.A. diss. Michigan State University 2015.
https://www.academia.edu/18550103/Stravinsky_the_Piano_and_the_Genesis_of_T
he_Firebird_a_History_and_Performance_Practice. full text available online.
This dissertation is explore the role of the piano in the creation of The Firebird, both
in its composition and its initial production. First, the Genesis of The Firebird, will
explore the creation of the ballet. And the piano and The Firebird: Toward a New
Performance Practice , will attempt to establish performance practice guidelines for
the piano solo version of The Firebird.

3. Johannes Brahms, Sonata for two pianos in F minor, op. 34b (autograph
manuscript, 1864?) The Morgan Library & Museum.
https://www.themorgan.org/music/manuscript/114277.

4. Calvin Smith (2006) “Recording Reviews: IMANI Winds.” The Horn Call: Journal of
the International Horn Society, Vol. 37, No. 1, pp. 89-90.
https://openmusiclibrary.org/article/487278/. Full text unavailable online.

Patrick Hanudel (2010) “Collections - Terra Incognita.” American Record Guide, Vol.
73, No. 6, pp. 266.
https://openmusiclibrary.org/article/397561/. Full text unavailable online.

Donald Rosenberg (2005) “North America: Reviews - Imani Winds: "The Classical
Underground".” Gramophone, Vol. 83, pp. A7.
https://openmusiclibrary.org/article/326416/. Full text unavailable online.