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The songs of Gerald Finzi (1901-1956) to poems by Thomas HardyVan der Watt, Gerhardus Daniël 11 1900 (has links)
This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald
Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived
model which focuses on a critical examination of the texts and considers the basic elements of music
in each song. Certain stylistic features are apparent from this study and are reflected in Volume I.
After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is
presented. The basic elements of music are then discussed: timbre, duration, pitch organization,
dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement
on the stylistic features of the composer and considers the artists' genius in the light of the study.
Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense
interest in English literature and sympathy with much of Hardy's personal philosophies such as the
uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal
traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The
declamation of the texts is of superior quality and the composer achieves an individual language of
expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van
Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n
vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale
elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I
weergegee.
Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel
van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur,
toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af
met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae.
Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling
in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die
gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar
ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy
deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike
uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in
Engeland, tot stand / D.Mus. (Musicology)
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2 |
The songs of Gerald Finzi (1901-1956) to poems by Thomas HardyVan der Watt, Gerhardus Daniël 11 1900 (has links)
This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald
Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived
model which focuses on a critical examination of the texts and considers the basic elements of music
in each song. Certain stylistic features are apparent from this study and are reflected in Volume I.
After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is
presented. The basic elements of music are then discussed: timbre, duration, pitch organization,
dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement
on the stylistic features of the composer and considers the artists' genius in the light of the study.
Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense
interest in English literature and sympathy with much of Hardy's personal philosophies such as the
uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal
traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The
declamation of the texts is of superior quality and the composer achieves an individual language of
expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van
Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n
vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale
elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I
weergegee.
Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel
van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur,
toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af
met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae.
Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling
in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die
gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar
ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy
deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike
uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in
Engeland, tot stand / D.Mus. (Musicology)
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Liszt's songs : a reflection of the man and a microcosm of his musical styleMoodie, Noreen Charlotte 11 1900 (has links)
"Liszt's music, unlike that of Mozart, projects the man.
With rare immediacy, it gives away the character
of the composer. ... "
(Brendel 1986, 3)
The purpose of this study is to examine Liszt's song genre from an historical and
stylistic standpoint as a reflection of Liszt's ongoing personality and style development.
this end the following will be presented:
- an overview of Liszt's life circumstances which reflect his personality development
- a chronological classification ofLiszt's song genre
- the songs viewed historically as a reflection of the man
- characteristics in the revisions of the songs which reveal Liszt's ongoing developing
style
- a study of the development ofLiszt's harmonic and tonal language as agents of
colour and textual imagery.
Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his
motives, his values, the experiences that moved him, and the ways in which he
reproduced them in music. / Department of Musicology / M.Mus.
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4 |
Liszt's songs : a reflection of the man and a microcosm of his musical styleMoodie, Noreen Charlotte 11 1900 (has links)
"Liszt's music, unlike that of Mozart, projects the man.
With rare immediacy, it gives away the character
of the composer. ... "
(Brendel 1986, 3)
The purpose of this study is to examine Liszt's song genre from an historical and
stylistic standpoint as a reflection of Liszt's ongoing personality and style development.
this end the following will be presented:
- an overview of Liszt's life circumstances which reflect his personality development
- a chronological classification ofLiszt's song genre
- the songs viewed historically as a reflection of the man
- characteristics in the revisions of the songs which reveal Liszt's ongoing developing
style
- a study of the development ofLiszt's harmonic and tonal language as agents of
colour and textual imagery.
Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his
motives, his values, the experiences that moved him, and the ways in which he
reproduced them in music. / Department of Musicology / M.Mus.
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