Hui Jin & Zhengdong Liang

1.
Ellen Taaffe Zwilich, “Music as Lifelong Discovery,” interview by Cheryl Heidel, Teaching Commented [CH1]: Article author should go here
Music, Vol. 8, No. 5, journal, pp. 42-45, https://openmusiclibrary.org/article/712007/. Commented [CH2]: Entire article title should be in
quotes
Commented [CH3]: Check formatting
Description: The interview provides brief information about her background and career, and
examines her inspiration and compositional process.

Ellen Taaffe Zwilich, “Interview with Ellen Taaffe Zwilich,” interview by Anthony J. Commented [CH4]: Article author should go here
Palmer, Philosophy of Music Education Review, Vol. 19, No. 1, journal, pp. 80-99, Commented [CH5]: Check formatting
https://openmusiclibrary.org/article/4383/.

Description: Through interview, she discusses her early experiences in school and how they
formed her attitudes and understanding of music and life in general.

2.
McFarland, Mark. “Stravinsky as Analyst: The Firebird and Petrushka.” PhD diss. , Georgia Commented [CH6]: No italics needed for dissertation
title
State University, 2014,
https://www.academia.edu/26969849/Stravinsky_as_Analyst_The_Firebird_and_Petrush
ka.

The dissertation discusses Stravinsky's audiographic piano rolls for both The Firebird and
Petrushka, Stravinsky's annotations for both ballets, revealing the composer in the role of
both theorist and music educator. The author uses some different short experts to demonstrate
how Stravinsky used different techniques in these two ballets to show his ideas that he wants
to express. (Full text available online)

Philips, Anna. “Stravinsky's Firebird: An Analysis of the Orchestration.” PhD diss. , Commented [CH7]: No italics needed for dissertation
title
Humboldt University zu Berlin, 2013,
https://www.academia.edu/8907469/Stravinskys_Firebird_An_Analysis_of_the_Orchestr
ation.

This dissertation illustrates the vibrant orchestration of The Firebird, influence on

Stravinsky's thought process during the composition as far as orchestration is concerned. The
dissertation also describes his use of the orchestra as one major organism through
juxtaposition and other techniques of orchestration that make this piece sounds so different.
In this work, it is possible to see Stravinsky's attempt at finding himself and his sound. (Full
text available online)
Hui Jin & Zhengdong Liang

Wakeman, Forrest. “Stravinsky, the piano, and the Genesis of The Firebird: A History and
Performance Practice.” PhD diss. , Michigan State University, 2015, Commented [CH8]: Check italicization
https://www.academia.edu/18550103/Stravinsky_the_Piano_and_the_Genesis_of_The_Fi
rebird_a_History_and_Performance_Practice.

The author points out Stravinsky's creative process pertaining to the development of his first
major ballet The Firebird. The author also points out The Piano and The Firebird, the
comparison of the orchestra and piano version of the score, the piano reduction of the
orchestra score. This dissertation is distinctive in exploring the role of the piano in the
creation of The Firebird, both in its composition and its initial production. (Full text available
online)

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

4:
Donald Rosenberg, “North America: Reviews - Imani Winds: The Classical Underground,”
Gramophone, Vol. 83 (2005): A7, https://openmusiclibrary.org/article/326416/. (Full text
unavailable online)

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

Calvin Smith, “Recording Reviews - IMANI Winds,” The Horn Call: Journal of the
International Horn Society, Vol. 27, No. 1 (2006): 89-90,
https://openmusiclibrary.org/article/487278/. (Full text available online)