Sergei Prokofiev categorized his compositions by grouping them into several \"lines,\" namely, the classical, modern, toccata, and lyrical lines. This thesis will examine six solo piano works by Sergei Prokofiev, their relationship to one another, and their relative significance in context of Prokofiev's oeuvre as a whole. Three of the movements are specifically listed by the composer in the toccata line category, and the remaining three possess arresting similarities that could place them in that line.
Chapter 1 places the following six compositions in historical context of Prokofiev's career as composer and pianist: Scherzo, Opus 12, No. 2; Third Sonata, Op. 28, Etude in C minor, Opus 2, No. 4; Suggestion diabolique, Opus 4, No. 4; Toccata in D minor, Opus 11; and the final movement of Seventh Sonata, Op. 83. It also examines some societal preconceptions and biases of the composer's time collectively in favor of or opposed to his musical aesthetic and voice. Chapter 2 deals with small and large-scale form as well as motivic and thematic development. Chapter 3 presents the rhythmic processes at work within each of the six movements, comparing and contrasting surface, middle, and core-level time factors that either govern the moto perpetuo thread or stray from it. Chapter 4 discusses the harmonic language of these works, such as chromaticism and dissonance treatment. Chapter 5 summarizes the findings and explores possible explanations for Prokofiev's statement that the toccata line works are his \"least important.\"
","abstract_html":"<p>Sergei Prokofiev categorized his compositions by grouping them into several "lines," namely, the classical, modern, toccata, and lyrical lines. This thesis will examine six solo piano works by Sergei Prokofiev, their relationship to one another, and their relative significance in context of Prokofiev's oeuvre as a whole. Three of the movements are specifically listed by the composer in the toccata line category, and the remaining three possess arresting similarities that could place them in that line. </p> <p>Chapter 1 places the following six compositions in historical context of Prokofiev's career as composer and pianist: Scherzo, Opus 12, No. 2; Third Sonata, Op. 28, Etude in C minor, Opus 2, No. 4; Suggestion diabolique, Opus 4, No. 4; Toccata in D minor, Opus 11; and the final movement of Seventh Sonata, Op. 83. It also examines some societal preconceptions and biases of the composer's time collectively in favor of or opposed to his musical aesthetic and voice. Chapter 2 deals with small and large-scale form as well as motivic and thematic development. Chapter 3 presents the rhythmic processes at work within each of the six movements, comparing and contrasting surface, middle, and core-level time factors that either govern the moto perpetuo thread or stray from it. Chapter 4 discusses the harmonic language of these works, such as chromaticism and dissonance treatment. Chapter 5 summarizes the findings and explores possible explanations for Prokofiev's statement that the toccata line works are his "least important." </p>","abstract_has_math":false,"creators":["Michael, Jeremie"],"institution":"Eastern Kentucky University","degree_name":"Master of Music (MM)","degree_level":"Master's","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-01-01T08:00:00Z","date_published":"2014-01-01T08:00:00Z","updated_at":"2026-07-24T02:15:25Z","subjects":["Piano","Prokofiev","Theory","Toccata","Music"],"languages":[],"rights":["Copyright 2014 Jeremie Michael"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://encompass.eku.edu/etd/293","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Michael, Jeremie"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:publisher","label":"Institution","values":["Encompass Digital Archive, Eastern Kentucky University"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master's"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Music (MM)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Eastern Kentucky University"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Piano","Prokofiev","Theory","Toccata","Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2014 Jeremie Michael"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://encompass.eku.edu/etd/293"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Sergei Prokofiev categorized his compositions by grouping them into several \"lines,\" namely, the classical, modern, toccata, and lyrical lines. This thesis will examine six solo piano works by Sergei Prokofiev, their relationship to one another, and their relative significance in context of Prokofiev's oeuvre as a whole. Three of the movements are specifically listed by the composer in the toccata line category, and the remaining three possess arresting similarities that could place them in that line.
Chapter 1 places the following six compositions in historical context of Prokofiev's career as composer and pianist: Scherzo, Opus 12, No. 2; Third Sonata, Op. 28, Etude in C minor, Opus 2, No. 4; Suggestion diabolique, Opus 4, No. 4; Toccata in D minor, Opus 11; and the final movement of Seventh Sonata, Op. 83. It also examines some societal preconceptions and biases of the composer's time collectively in favor of or opposed to his musical aesthetic and voice. Chapter 2 deals with small and large-scale form as well as motivic and thematic development. Chapter 3 presents the rhythmic processes at work within each of the six movements, comparing and contrasting surface, middle, and core-level time factors that either govern the moto perpetuo thread or stray from it. Chapter 4 discusses the harmonic language of these works, such as chromaticism and dissonance treatment. Chapter 5 summarizes the findings and explores possible explanations for Prokofiev's statement that the toccata line works are his \"least important.\"
"]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:source","label":"Dc Source","values":["Encompass Digital Archive: Online Theses and Dissertations"]},{"key":"dc:title","label":"Title","values":["An Examination of Toccata Line Movements in Prokofiev's Piano Music"]}]}],"canonical_facts":{"dc:creator":["Michael, Jeremie"],"dc:description.abstract":["Sergei Prokofiev categorized his compositions by grouping them into several \"lines,\" namely, the classical, modern, toccata, and lyrical lines. This thesis will examine six solo piano works by Sergei Prokofiev, their relationship to one another, and their relative significance in context of Prokofiev's oeuvre as a whole. Three of the movements are specifically listed by the composer in the toccata line category, and the remaining three possess arresting similarities that could place them in that line.
Chapter 1 places the following six compositions in historical context of Prokofiev's career as composer and pianist: Scherzo, Opus 12, No. 2; Third Sonata, Op. 28, Etude in C minor, Opus 2, No. 4; Suggestion diabolique, Opus 4, No. 4; Toccata in D minor, Opus 11; and the final movement of Seventh Sonata, Op. 83. It also examines some societal preconceptions and biases of the composer's time collectively in favor of or opposed to his musical aesthetic and voice. Chapter 2 deals with small and large-scale form as well as motivic and thematic development. Chapter 3 presents the rhythmic processes at work within each of the six movements, comparing and contrasting surface, middle, and core-level time factors that either govern the moto perpetuo thread or stray from it. Chapter 4 discusses the harmonic language of these works, such as chromaticism and dissonance treatment. Chapter 5 summarizes the findings and explores possible explanations for Prokofiev's statement that the toccata line works are his \"least important.\"
"],"dc:format":["application/pdf"],"dc:identifier":["https://encompass.eku.edu/etd/293"],"dc:publisher":["Encompass Digital Archive, Eastern Kentucky University"],"dc:rights":["Copyright 2014 Jeremie Michael"],"dc:source":["Encompass Digital Archive: Online Theses and Dissertations"],"dc:subject":["Piano","Prokofiev","Theory","Toccata","Music"],"dc:title":["An Examination of Toccata Line Movements in Prokofiev's Piano Music"],"dc:type":["Master Thesis"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Master's"],"thesis:degree_name":["Master of Music (MM)"],"thesis:institution_name":["Eastern Kentucky University"]},"updated_at":"2026-07-24T02:15:25Z"}