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          <dc:identifier>https://hdl.handle.net/2286/R.2.N.204433</dc:identifier>
                  <dc:rights>http://rightsstatements.org/vocab/InC/1.0/</dc:rights>
          <dc:rights>All Rights Reserved</dc:rights>
                  <dc:date>2026</dc:date>
                  <dc:format>60 pages</dc:format>
                  <dc:type>Doctoral Dissertation</dc:type>
          <dc:type>Academic theses</dc:type>
                  <dc:language>en</dc:language>
                  <dc:contributor>Park, Chulyoung</dc:contributor>
          <dc:contributor>Masters, Martha</dc:contributor>
          <dc:contributor>Marshall, Kimberly</dc:contributor>
          <dc:contributor>Feisst, Sabine</dc:contributor>
          <dc:contributor>Arizona State University</dc:contributor>
                  <dc:description>Partial requirement for: D.M.A., Arizona State University, 2026</dc:description>
          <dc:description>Field of study: Music</dc:description>
          <dc:description>In this study, the repertoire for guitar and harpsichord duo in the early twenty-first century is examined, placing this uncommon pairing within the broader development of guitar chamber music. After periods of decline in the nineteenth century, both instruments experienced renewed interest in the twentieth century, leading composers to revisit historical styles while exploring new aesthetic, cultural, and expressive possibilities. Although early works by composers such as Manuel María Ponce and Stephen Dodgson established important precedents, the early twenty-first century has seen significant growth in the repertoire, particularly through the contributions of guitarist-composers.Central to this study is an in-depth analysis of selected contemporary works for guitar and harpsichord by guitarist-composers. This study is also accompanied by original recordings of these works, providing a practical realization of the analytical discussions. Paolo Rosini’s Sonata (2022) adopts a neoclassical style, through Baroque-inspired formal structures and references to eighteenth-century Italian traditions. Atanas Ourkouzounov’s Barokanitsa (2021) blends Baroque elements with Bulgarian folk traditions characterized by asymmetrical meters, modal harmony, and rhythmic vitality. Jürg Kindle’s I Temperamenti (1988/2013) is based on the ancient theory of the temperaments and uses contrasting movements to portray different human characters. Marek Pasieczny’s Bangerang! (2007) brings cinematic ideas into the repertoire, employing rhythm, gesture, and stylistic references from film music to create a vivid and narrative-driven work.

</dc:description>
                  <dc:subject>Music</dc:subject>
          <dc:subject>Musical Performances</dc:subject>
          <dc:subject>Musical Composition</dc:subject>
          <dc:subject>Chamber music</dc:subject>
          <dc:subject>classical guitar</dc:subject>
          <dc:subject>Guitar and harpsichord</dc:subject>
          <dc:subject>Guitar Ensemble</dc:subject>
          <dc:subject>Harpsichord</dc:subject>
                  <dc:title>Guitar and Harpsichord Duets of the Early Twenty-first Century</dc:title></oai_dc:dc></metadata></record></GetRecord></OAI-PMH>
