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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Pierre Boulez et Stéhane Mallarmé deux notions d'abstraction : la relation entre musicien et po'ete 'a travers Pli selon pli

Breatnach, M. 1990 (has links)
Entre 1957 et 1962 Pierre Boulez a composéPli selon pli, une oeuvre 'a laquelle il donna le sous-titre Portrait de Mallarmé/ et qui s'inspire d'un cycle de po'emes choisis parmi l'oeuvre du po'ete symboliste mort en 1898. Le but de cette th'ese est d'éudier le rapport entre musicien et po'ete tel qu'il se ré'ele 'a travers cette oeuvre musicale. En musique l'éroulement du language tonal fut suivi d'une péiode de déordre en mati'ere de composition. Dan les annés cinquante, le jeune Pierre Boulez - persuadéque le déordre tenait d'un manque essentiel de cohéion entre le langage musical et la sensibilitécontemporaine - se sentait contraint 'a rechercher et 'a éablir un nouveau langage 'a la hauteur de cette sensibilité Dans les annés soixante du dernier si'ecle Stéhane Mallarméa véu une expéience analogue en mati'ere d'ériture poéique. Motivépar l'idé que le devoir du po'ete éait d'expliquer orphiquement la terre, il se sentait poussé'a rechercher un langage capable d'accomplir ce but. A partir de 1885 Mallarméa pris un certain inté^et 'a la musique mais son attitude envers cet art est toujours resté ambivalente et tr'es complexe. Il le mérisait mais en m^eme temps croyait 'a la possibilitéd'intérer 'a la poéie certaines de ses qualité. A contre courant de la pensé dominant son éoque, Mallarméopposait 'a la conception wagnéienne du Gesamtkunstwerk un art total purement littéaire. La pensé du Mallarmésur la musique a éésouvent méonnue, surtout par les critiques déireux d'expliquer son influence sur Boulez. Ce dernier signale spéifiquement la préccupation du po'ete avec le langage et avec la technique du langage comme source de cette influence. C'est une préccupation qui entra^ine une conception double de la crétivitéqui réond, selon le compositeur, aux besoins de l'éoque moderne. La conception bouléienne de la mise en musique d'un po'eme fait ého 'a cette dualité Boulez vise 'a faire du po'eme dans tous ses aspects la source d'une proliféation musicale. Au moyen d'une analyse déaillé du texte, il vise 'a éablir entre celui-ci et la musique un rapport indestructible qui laisse intouché l'autonomie originale du poe'me et permet en m^eme temps une grande libertéen ce qui concerne la composition musicale. Le rapport envisagépar Boulez entre le po'eme et la musique se ré'ele en fin de compte comme une méaphore du rapport envisagépar Mallarméentre le monde et l'érit.
2

Composition, music

Bunch, M. R. B. 2006 (has links)
1. SIRIUS. String quartet in five movements: C, B, A, K, S Approximate duration: 68 minutes 2. Justine: Overture for dance – “The Silvery Crescent Moon” / “The Dance of the Clown”. Full orchestra. Approximate duration: 18 minutes. 3. “The Great Gate of the Capital of Kiev”. Chamber orchestra. Approximate duration: 10 minutes. An arrangement and expansion of the original piece of the same title, as composed by Modest Petrovich Moussorgsky for his piano suite, Pictures at an Exhibition. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes. 5. Mattinata. Choral work for solo mixed voices a capella (Soprano, Alto, Tenor, Bass). Approximate duration: 8 minutes. 6. Rose Serenades. Three pieces for piano solo: Claire; …looks, my love…; “When I can Dance…” Approximate duration: 12 minutes 7. Two pieces inspired by the Düben family of organists: - Skara, for string quartet - “Prinz Regent: Tyska Kyrkan (Swedish Prelude)”, for organ. Approximate duration: 11 minutes 8. Five O’Clock. Chamber work for small ensemble (Flute, Clarinet in A, Percussion [Sleigh Bells, Claves, Sand Block, Glockenspiel, Bongo Drums], Piano, Violin, Violoncello. Approximate duration: 16 minutes.
3

Journey across the horizon

Clennon, O. D. 1997 (has links)
As the title suggests, the theme of this thesis is one of exploration and journey. The journey in question is essentially one of a spiritual nature. The process of conveying this motion in musical terms presented me with many challenges. The musical scores draw their inspiration from cultures as diverse as the rhythms of West Africa the overtone chanting of Tibet and Native American spiritual chants. It is predominantly these sources, that sit outside the European classical tradition, which enable me to write meaningful music that echoes both the philosophical and spiritual ideas I need to communicate. Some of the music presented here, however, gains its impetus from political issues of particular importance to myself. Meditation- double bass; dur. 8 mins. Memories - clarinet and viola ; dur. 2 mins. Invocation - flute, clarinet, violin, cello and guitar; dur. 10 mins. Hidden Song - string quartet; dur 11 mins. Prayer - Eb clarinet, voice, viola, flute and percussion; dur. 10 mins. Why? - flute, clarinet, violin, cello and tape; dur 10 mins. Tribute to Mr, King - organ; dur 20 mins. What has happened to all that Beauty? - string quartet, voice and live electronics; dur. 15 mins. Movements - symphony orchestra; dur. 20 mins. Journey Across the Horizon - voice, mixed voices, chamber orchestra; dur. 45 mins.
4

An embodiment of Schoenberg's method of teaching musical harmony in a guided discovery learning environment

Brandão, Márcio da Costa Pereira 2002 (has links)
Most traditional musical harmony teaching methods in use in undergraduate courses are centred on pedagogical principles that require students to manipulate musical elements, beyond those directly relevant to the subject matter. Beginning harmony students often encounter extra difficulty in the learning process as they usually lack experience in manipulating individual musical elements. In addition, the emphasis on exemplars of the common practice of eighteenth and nineteenth century composers imposes some limitation on the student’s harmonic vocabulary and, in consequence, on the student’s creativity. At the beginning of the twentieth century, Arnold Schoenberg proposed a method of teaching harmony which presented a different set of pedagogical principles: the method required no background knowledge of other musical elements; it encouraged the exploration of the search space of solutions which, in conjunction with a self assessment of them, helps students to develop their own harmonic sense, without the influence of exemplars of the harmonic practice of existing composers. However, although Schoenberg’s method addresses the problems presented above, it has not been widely used, mostly because its fundamental pedagogy and curriculum are buried in lengthy philosophical discussions of polemical arguments and criticism of traditional methods. This thesis investigates the possibility of designing and constructing a computer-based learning environment presenting the pedagogy and curriculum of Schoenberg’s harmonic teaching method while remaining true to its spirit. We present a formalisation of part of the method’s curriculum and associated pedagogical principles, which have been embodied in a prototype learning environment. The results from studies involving the prototype are also presented: a formative evaluation was carried out with music experts aiming to assess its interactive music notation human computer interface and to inform changes and improvements to be made to the prototype; and a summative evaluation was conducted with music lecturers to assess not only the degree of faithfulness of the environment to the method, but also the educational benefits that such an environment can potentially bring to harmony teaching.
5

The baroque bassoon : form, construction, acoustics, and playing qualities

Dart, Mathew 2011 (has links)
No description available.
6

The instrumentation and music of the church choir-band in Eastern England, with particular reference to Northamptonshire, during the late eighteenth and early nineteenth centuries

Weston, Stephen 1995 (has links)
In spite of the current upsurge of interest in the field of rural church music in the late eighteenth and early nineteenth centuries, there is surprisingly little exhaustive material dealing with one particular area of the country. Research from the early part of this century covers the West Country and Sussex, and the concensus has always been that these areas were the strongest in the tradition of local psalmody. This dissertation attempts to redress the balance by considering the choir-band in the Eastern Counties (the East Midlands, East Anglia and Mid-Anglia). The county of Northamptonshire is given particular consideration, and may be considered to be a 'typical' English county; this may show that this genre of music is very much more widespread than was formerly thought. The thesis describes the state of the late eighteenth-century Church, and discusses the role of music in the service, the situation of the choir-band and methods of payment. Examples of local psalmody in Northamptonshire are given, and the instrumentation of the choir-bands is studied, by reference to sources such as churchwardens' account books. Conclusions are drawn about instrumental trends, dispersion and influence. The lasting significance of the choir-band movement is also considered.
7

The cornett and performance practice in Germany, c. 1511-1545, with particular reference to divisions technique

Svan, Jamie 2005 (has links)
No description available.
8

Popular song and social identity in Victorian Manchester

Philemon, E. 1996 (has links)
No description available.
9

Changes in the transmission of 'traditional' music: the case of Japanese jiuta-sokyoku

Arisawa, Shino 2009 (has links)
No description available.
10

Musical composition focusing on the quality of presence in performance

Wiesenfeld, Ruth 2008 (has links)
This practice-based research into the quality of presence in performance explores a compositional approach that originates from the question of what might lead a person to seek musical or sounding utterance. It aims at opening the awareness-space towards a listening not only to the musical-acoustic event, but to the performer as a whole. Consequently different forms of notation and processes of rehearsing that address the psycho-physical constitution of a performer are investigated; a strong focus lies on the sensorimotor aspect of playing an instrument. The portfolio comprises fourteen pieces (for soloists, chamber ensembles and orchestra) as well as four collaborative projects with performance artists. Most of the pieces have been performed live: documentation on CD and DVD is included. The written part of the thesis provides a commentary on the process of bringing these pieces into being. In particular, issues of notation and rehearsal are addressed here, which are of special concern as to the transmission of conceptions regarding presence, embodiment and kinaesthetic sensitivities. I explain how the body of compositions deals with various notions of listening: receptive listening and - in the chapter on the orchestral piece spun yam - listening as a sense of touch as well as listening in wonder. Illustrated by several performance projects I outline the concept of the audience as witness rather than as observer. Additionally, I describe how I use imagery to inscribe possible stimuli for musical or sounding utterance into my compositions. To demonstrate how this research contributes to new knowledge in the field of musical composition, I compare it with similar yet different positions exemplified by Mauricio Kagel's "instrumental theatre" as well as Helmut Lachenmann's "musique concrete instrumentale" and place it against more recent trends and developments. These evaluations will show that there is no other approach to the quality of presence within musical composition coinciding exactly with mine.

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