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The transition from the beaux arts tradition to the bauhaus influence in American architectural educationLuxemburger, Elaine 08 1900 (has links)
No description available.
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An Analysis and Interpretation of Francis Poulenc's 'Nocturnes'Su, Chih-pin 18 July 2007 (has links)
After World War I, a significant change for the concepts of culture and art occurred in France, which eventually causes a cultural revolution. Francis Poulenc (1899-1963) experienced such a transformation and became one of the most important French composers and pianists in the twentieth century. He was a member of the French group Les Six; his music was therefore often considered informal. However, those who had ever listened to his music were impressed deeply by the graceful melodies and rich harmonies presented in his works.
Poulenc was prolific, producing a total number of 34 opuses for piano. In particular, he finished most of his outstanding works in the 1930s, of which Nocturnes is the most representative. Nocturnes is characterized by two main elements generally found in Poulenc¡¦s works, referred to as Neo-classicism and Popular Music, from which the characteristics of his piano music can be realized comprehensively.
The primary purpose of this thesis is to thoroughly discuss Poulenc¡¦s famous piano pieces Nocturnes. The thesis is organized as follows. Firstly, the development of French cultures in the early twentieth century is introduced particularly with a historical perspective. In Chapter 2, Poulenc¡¦s life and his composition style are presented, followed by an emphasis on the unique characteristics of his piano music. Chapter 3 describes the background when Poulenc composed Nocturnes, with a discussion of the skills required for the interpretation. It is anticipated that this study is capable of offering the understanding of Poulenc¡¦s piano music.
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Studien zum Problem der Spannung in der deutschen Klassik (eine Untersuchung in pädagogischer Absicht) ...Wissel, Hildegard, January 1937 (has links)
Inaug.-Diss.--Göttingen. / Lebenslauf.
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Studien zum Problem der Spannung in der deutschen Klassik (eine Untersuchung in pädagogischer Absicht) ...Wissel, Hildegard, January 1937 (has links)
Inaug.-Diss.--Göttingen. / Lebenslauf.
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Classicism : seen through contemporary furniture /Spadafora, Mark Joseph. January 1992 (has links)
Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references (leaf 28).
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The changing face of erudition antiquaries in the age of the grand tour /Griggs, Tamara Anne, January 2003 (has links)
Thesis (Ph. D.)--Princeton University, 2003. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 239-262).
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Adorno e a Nova Música / Adorno and the New MusicRocha, Jessé da Costa January 2006 (has links)
ROCHA, Jessé da Costa. Adorno e a Nova Música. 2006. 86f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2006. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-09-25T14:14:30Z
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Previous issue date: 2006 / This study presents a general idea on the Philosophy of New Music. To facilitate such exposition, two strategies were adopted. First, divide the text into two major chapters. Second, adopt some themes as conductor strings. However, the study did not restrain itself from making a simple rational reconstruction of the Philosophy of New Music. It also analyzed major musical and philosophical sources used by Adorno. In this context, special notability was given to the writings of Schoenberg, Kant, Hegel, Schopenhauer, Nietzsche and Freud. Other texts from Adorno himself were also used, among them, one which demonstrated to be particularly relevant for our objectives, for example, Music and language: a fragment. Thus, we elaborated, based on the mentioned text, some kind of prelude. I concluded that, to Adorno, atonal music developed by Schoenberg stood in the forefront of European art. Stravinski, on the other hand, led a reactionary movement which searched an arbitrary conservation of the past, thus compromising, both the old and the new. / Expõe as linhas gerais da Filosofia da Nova Música. Para facilitar tal exposição, duas estratégias foram adotadas. Primeira, dividir o texto em dois grandes capítulos. Segunda, adotar alguns temas como fios condutores. Contudo, a pesquisa não se limitou a fazer uma mera reconstrução racional da Filosofia da Nova Música. Ela também analisou as principais fontes musicais e filosóficas utilizadas por Adorno. Nesse contexto, ganharam destaque especial os escritos de Schoenberg, Kant, Hegel, Schopenhauer, Nietzsche e Freud. Outros textos do próprio Adorno também foram utilizados, dentre eles, um mostrou-se particularmente relevante para nossos propósitos, qual seja, Music and language: a fragment. Sendo assim, elaboramos, com base no referido texto, uma espécie de prelúdio. Conclui que, para Adorno, a música atonal desenvolvida por Schoenberg estava na vanguarda da arte européia. Stravinski, ao contrário, liderou um movimento reacionário que buscou uma conservação arbitrária do passado, comprometendo, assim, tanto o velho como o novo.
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Governing matters : the values of English education in the Earth Sciences, 1790-1830Dolan, Brian January 1995 (has links)
No description available.
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Perspectives on the Symbiosis of Traditional and Modernist Techniques in Four Violin Compositions by Sergei ProkofievKim, Sooyoung 05 August 2010 (has links)
No description available.
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A study of Germanistik in America : the reception of German classicism, 1870-1905 /Spuler, Richard Carl January 1980 (has links)
No description available.
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