Abstract
References
- Bennett, Roy. (1995). Music Dictionary. New York: Cambridge University Press.
- Blakley, J. M. (1982). “A Stylistic Comparison of Six Twentieth Century Piano Sonatinas Written Between 1905 and 1950”. Master’s thesis. Eastern Illinois University, Charleston, Illinois.
- Caliga, M. (2019). The Development of Dm. Kabalevskii Ideas in Contemporary Musical Pedagogy. Review of Artistic Education, 17, 118-125. https://doi.org/10.2478/rae-2019-0013
- Caplin, W. E. (1998). Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.
- Cole, M. S. (1995). Rondo. The New Grove Dictionary of Music and Musicians (Ed. S. Sadie), Volume 16, pp. 172- 177. London: Macmillan Publishers Limited.
- Daragan, D. G. (2001). Kabalevsky, Dmitry Borisovich. The New Grove Dictionary of Music and Musicians (Ed. S. Sadie), Volume 13, pp. 298-300. London: Macmillan Publishers Limited.
- Dewey, J. (1980). Art as Experience. New York: A Wideview / Perigee Book.
- Drabkin, W. (1995). Motif. The New Grove Dictionary of Music and Musicians (Ed. S. Sadie), Volume 12, p. 648. London: Macmillan Publishers Limited.
- Gauldin, R. (2004). Harmonic Practice in Tonal Music (Second Edition). New York & London: W. W. Norton & Company, Inc.
- Hepokoski, J., & Darcy, W. (2006). Elements of Sonata Theory: Norms, Types and Deformations in the Late- Eighteenth-Century Sonata. New York: Oxford University Press.
- Isacoff, S. (2012). Tchaikovsky’s Piano Concerto, No. 1 -- Van Cliburn (April 11, 1958). Library of Congress. Retrieved from: https://www.loc.gov/static/programs/national-recording-preservation- board/documents/Tchaikovsky-Piano-Concerto-No1-Van-Cliburn_Iscaoff.pdf
- Jiang, N. (2020). Research on the Compatibility Between Kabalevsky’s Music Education Concept and Children’s Piano Education. Advances in Social Sciences, Education and Humanities Research, 425, 101-105. https://doi.org/10.2991/assehr.k.200328.021
- Kabalevsky, D. (n.d.). Rondo, Op. 59 / for the Piano. New York: International Music Company.
- Laitz, S. G. (2012). The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. New York: Oxford University Press.
- Lindsey, S. (1964). “A Study of the Solo Piano Music of Dmitri Kabalevsky”. Master’s thesis. Eastern Illinois University, Charleston, Illinois.
- Riem, F. (2022). The Day Van Cliburn Won. World Federation of International Music Competitions. Retrieved from: https://www.wfimc.org/news-media/day-van-cliburn-won
- Roizman, L. (1962). Kabalevsky’s Piano Pieces for the Young. The Soviet Review, 3(4), 53-59.
- Rothstein, W. (1989). Phrase Rhythm in Tonal Music. New York & London: Schirmer Books.
- Schoenberg, A. (1967). Fundamentals of Musical Composition. New York: St. Martin’s Press.
- Shen, L. (2019). An Analysis of the Performing Skills of Kabalevsky’s “Rondo in a Minor Op.59”. 2019 International Conference on Art Design, Music and Culture (ADMC 2019) (Ed. K. Sankar), pp. 363-371. Prague, Czechia. Retrieved from: https://webofproceedings.org/proceedings_series/article/artId/12384.html
- Sikorski. (2018). Dmitri Kabalevsky. Sikorski Musikverlage Hamburg.
- Wolf, E. K. (1986). Rondo. The New Harvard Dictionary of Music (Ed. D. Randel), pp. 717-718. Cambridge: The Belknap Press of Harvard University Press.
Abstract
Dmitry Borisovich Kabalevsky’s (1904-1987) Rondo in A Minor, Op. 59 (1958), composed for the inaugural Tchaikovsky International Piano Competition, stands as a remarkable convergence of traditional rondo principles and innovative compositional techniques emblematic of the 20th century. This study examines the structural and motivic complexities of the piece, providing a detailed analysis of Kabalevsky’s inventive approach to classical forms and his skillful fusion of tradition and innovation. Traditionally characterized by alternating a principal theme (A) with contrasting episodes (B, C, etc.) in patterns such as ABACADA, the rondo form is the foundation of Kabalevsky’s composition. However, Kabalevsky transcends conventional approaches by embedding additional ‘sub-rondos’ within sections B, C, and D, resulting in a multi-tiered formal design. This unique framework, termed ‘RondoSquared’ [R2] for the first time in this study, offers a new analytical perspective in which rondo structures interact across multiple levels. By emphasizing the cyclical and recursive qualities of the form, this approach underscores Kabalevsky’s ingenuity in pushing the limits of traditional composition. Motivic analysis of the piece reveals nine distinct motifs, each meticulously woven into the tonal and structural fabric of the work. These motifs demonstrate Kabalevsky’s mastery of balancing repetition and contrast and highlight his skill in generating fluid transitions between tonal areas and structural sections. Integrating traditional rondo characteristics with elements reminiscent of the sonata-rondo form reflects Kabalevsky’s ability to reinterpret classical forms for a contemporary audience. This synthesis results in a work that is both accessible and intellectually sophisticated, appealing to performers, educators, and listeners alike. The ‘RondoSquared’ concept, proposed in this study, offers a novel perspective for understanding complex formal relationships, providing new avenues for exploring the evolution of classical forms in modern music.
Keywords
Ethical Statement
No need ethical committee approval.
Supporting Institution
No funding
Thanks
First and foremost, I would like to thank my family for always being there for me. I also extend my gratitude to the journal editor and the reviewers who contributed to the development of this study, as well as to all my professors for their guidance and support throughout my academic journey, and to my students for their involvement and interest in my work.
References
- Bennett, Roy. (1995). Music Dictionary. New York: Cambridge University Press.
- Blakley, J. M. (1982). “A Stylistic Comparison of Six Twentieth Century Piano Sonatinas Written Between 1905 and 1950”. Master’s thesis. Eastern Illinois University, Charleston, Illinois.
- Caliga, M. (2019). The Development of Dm. Kabalevskii Ideas in Contemporary Musical Pedagogy. Review of Artistic Education, 17, 118-125. https://doi.org/10.2478/rae-2019-0013
- Caplin, W. E. (1998). Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.
- Cole, M. S. (1995). Rondo. The New Grove Dictionary of Music and Musicians (Ed. S. Sadie), Volume 16, pp. 172- 177. London: Macmillan Publishers Limited.
- Daragan, D. G. (2001). Kabalevsky, Dmitry Borisovich. The New Grove Dictionary of Music and Musicians (Ed. S. Sadie), Volume 13, pp. 298-300. London: Macmillan Publishers Limited.
- Dewey, J. (1980). Art as Experience. New York: A Wideview / Perigee Book.
- Drabkin, W. (1995). Motif. The New Grove Dictionary of Music and Musicians (Ed. S. Sadie), Volume 12, p. 648. London: Macmillan Publishers Limited.
- Gauldin, R. (2004). Harmonic Practice in Tonal Music (Second Edition). New York & London: W. W. Norton & Company, Inc.
- Hepokoski, J., & Darcy, W. (2006). Elements of Sonata Theory: Norms, Types and Deformations in the Late- Eighteenth-Century Sonata. New York: Oxford University Press.
- Isacoff, S. (2012). Tchaikovsky’s Piano Concerto, No. 1 -- Van Cliburn (April 11, 1958). Library of Congress. Retrieved from: https://www.loc.gov/static/programs/national-recording-preservation- board/documents/Tchaikovsky-Piano-Concerto-No1-Van-Cliburn_Iscaoff.pdf
- Jiang, N. (2020). Research on the Compatibility Between Kabalevsky’s Music Education Concept and Children’s Piano Education. Advances in Social Sciences, Education and Humanities Research, 425, 101-105. https://doi.org/10.2991/assehr.k.200328.021
- Kabalevsky, D. (n.d.). Rondo, Op. 59 / for the Piano. New York: International Music Company.
- Laitz, S. G. (2012). The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. New York: Oxford University Press.
- Lindsey, S. (1964). “A Study of the Solo Piano Music of Dmitri Kabalevsky”. Master’s thesis. Eastern Illinois University, Charleston, Illinois.
- Riem, F. (2022). The Day Van Cliburn Won. World Federation of International Music Competitions. Retrieved from: https://www.wfimc.org/news-media/day-van-cliburn-won
- Roizman, L. (1962). Kabalevsky’s Piano Pieces for the Young. The Soviet Review, 3(4), 53-59.
- Rothstein, W. (1989). Phrase Rhythm in Tonal Music. New York & London: Schirmer Books.
- Schoenberg, A. (1967). Fundamentals of Musical Composition. New York: St. Martin’s Press.
- Shen, L. (2019). An Analysis of the Performing Skills of Kabalevsky’s “Rondo in a Minor Op.59”. 2019 International Conference on Art Design, Music and Culture (ADMC 2019) (Ed. K. Sankar), pp. 363-371. Prague, Czechia. Retrieved from: https://webofproceedings.org/proceedings_series/article/artId/12384.html
- Sikorski. (2018). Dmitri Kabalevsky. Sikorski Musikverlage Hamburg.
- Wolf, E. K. (1986). Rondo. The New Harvard Dictionary of Music (Ed. D. Randel), pp. 717-718. Cambridge: The Belknap Press of Harvard University Press.
Details
| Primary Language | English |
|---|---|
| Subjects | Composition in Western Classical Music |
| Journal Section | Music |
| Authors | |
| Early Pub Date | May 24, 2025 |
| Publication Date | June 30, 2025 |
| Submission Date | January 14, 2025 |
| Acceptance Date | April 18, 2025 |
| Published in Issue | Year 2025 |
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