The dissertation presented a performance analysis and comparison of two major timpani concertos. The Concerto for Five Kettledrums and Orchestra by Robert Parris and the Concerto for Timpani and Orchestra by Werner Thaerichen were chosen for the study because they have been performed by major symphony orchestras, they have been performed at the advanced collegiate level, and because both concertos were written for five timpani and a similar orchestra instrumentation.Initially, each composition was thoroughly analyzed in regard to the specific techniques necessary for a consistent, musical performance. The performance analysis attempted a measure by measure explanation of the solo parts with musical examples; the measures were grouped according to musical phrasing or common technical problems. Some of the more complex phrases were then more minutely examined to focus on a specific performance problem. The mastery of a particular technique or movement was often facilitated by an exercise developed from the performance problem. A number of such exercises were presented and explained in the performance analysis.The comparative performance analysis was presented to best illustrate and illuminate the following similarities and dissimilarities:1. The basic difficulty, in both the composition and performance of a timpani solo, is that of a conjunct, lyrical, multiple-pitched line as opposed to the more idiomatic disjunct, fragmented exchange of solo material with the accompaniment. This was the basis of the comparative analysis. The Parris Concerto is lore linear and lyrical, whereas the Thaerichen Concerto is more fragmented. The Thaerichen solo has for one, two, or three drums and rhythmic work is definitely linear and depends less upon single and two drum figures to create and maintain interest. In this sense, the to the extent that the Thaerichen Concerto does.2. Because of the melodic nature of the material, the Parris Concerto was more demanding in interpretation than was the Thaerichen Concerto. The solo timpani pant in the Parris Concerto is foreground material and is more expressive than the ostinato, background material of the solo part of much of the Thaerichen Concerto.3. There are similar and dissimilar sticking situations which demanded study and experimentation to produce the most musical results. Similarities in stickings include right-hand and lefthand-lead, stick doublings and a combination of alternate stickings and stick doublings. The Thaerichen solo has two passages utilizing repeated eighth-notes in one hand and a melody around the drums with the other; similar stickings are not required in the Parris. However, the Parris solo has complex arms-crossed stickings and almost acrobatic arm and foot movements.4. Tuning schemes vary more frequently aid more dramatically in the Parris Concerto.The performance analysis and comparison substantiated these similarities and dissimilarities and further revealed that the length and many repetitions of the Thaerichen solo demanded the utmost concentration and consistency due to the static nature of many passages. The Parris is more compact, with many varied performance problems facing the soloist every few measures. The variety of melodic material, articulations, and mallet movements result in the Parris Concerto being the more difficult. The Thaerichen Concerto makes fewer technical demands, and spaces them farther apart. In many passages of the Thaerichen, the tuning scheme remains the same. Also, tempo does not vary as often as it does in the Parris. The Parris solo features more foreground material, with its melodic phrases supported by the orchestra; whereas, the timpani in the Thaerichen is a part of the overall orchestral texture, only occasionally being allowed to assume a principal melodic role.This study was undertaken as a guide for the timpanist desiring to study and perform these works. Specific solutions to performance problems have been offered as a means of achieving technical mastery and as a motivation to further explore and exploit one's personal performance skills and talents.

No description available.

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)

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-05-28Bitstream added on 2014-06-13T20:56:30Z : No. of bitstreams: 1 giareta_ep_me_ia.pdf: 3969355 bytes, checksum: 5755701543a489848e20bc316e2ecdef (MD5) / Pretende-se, neste trabalho, estudar a relação entre as obras para piano solo de Ronaldo Miranda, identificar os procedimentos composicionais utilizados pelo compositor e, a partir daí, extrair ferramentas que facilitem uma adequada interpretação musical das mesmas. O objeto deste projeto firma-se na interpretação musical, através das características notacionais da partitura à luz de um olhar analítico e do levantamento das peculiaridades da escrita pianística. Propõe-se que o intérprete tenha um conhecimento prévio dos elementos que são largamente utilizados pelo compositor e considere os exercícios técnicos sugeridos no último capítulo, compostos pelo autor deste trabalho, com base na identificação e recorrência dos padrões pianísticos composicionais de Ronaldo Miranda. Sendo assim, o pianista terá ao seu dispor recursos que fundamentarão uma postura interpretativa mais coesa, considerando o processo cognitivo, a percepção e a atenção dada no preparo para a execução da obra / It is intended to study the relationship between the works for solo piano by Ronaldo Miranda, identifying the compositional procedures used by the composer and, thereafter extracting tools to facilitate a proper musical interpretation thereof. The object of this project is based on the musical interpretation, through the notational characteristics under an analytical view and setting up the peculiarities of the pianistic writing. It is proposed that the interpreter has prior knowledge of the elements that are widely used by the composer and consider the technical exercises suggested in the last chapter, composed by the author of this research, based on the identification and recurrence of pianistic patterns of Ronaldo Miranda. Thus, the pianist will have at his disposal, resources that will build a more cohesive rendition, considering the cognitive process, perception and attention given in preparation for performing the work

Orientador: Nahim Marun Filho / Banca: Achille Guido Picchi / Banca: Ronaldo Coutinho de Miranda / Resumo: Pretende-se, neste trabalho, estudar a relação entre as obras para piano solo de Ronaldo Miranda, identificar os procedimentos composicionais utilizados pelo compositor e, a partir daí, extrair ferramentas que facilitem uma adequada interpretação musical das mesmas. O objeto deste projeto firma-se na interpretação musical, através das características notacionais da partitura à luz de um olhar analítico e do levantamento das peculiaridades da escrita pianística. Propõe-se que o intérprete tenha um conhecimento prévio dos elementos que são largamente utilizados pelo compositor e considere os exercícios técnicos sugeridos no último capítulo, compostos pelo autor deste trabalho, com base na identificação e recorrência dos padrões pianísticos composicionais de Ronaldo Miranda. Sendo assim, o pianista terá ao seu dispor recursos que fundamentarão uma postura interpretativa mais coesa, considerando o processo cognitivo, a percepção e a atenção dada no preparo para a execução da obra / Abstract: It is intended to study the relationship between the works for solo piano by Ronaldo Miranda, identifying the compositional procedures used by the composer and, thereafter extracting tools to facilitate a proper musical interpretation thereof. The object of this project is based on the musical interpretation, through the notational characteristics under an analytical view and setting up the peculiarities of the pianistic writing. It is proposed that the interpreter has prior knowledge of the elements that are widely used by the composer and consider the technical exercises suggested in the last chapter, composed by the author of this research, based on the identification and recurrence of pianistic patterns of Ronaldo Miranda. Thus, the pianist will have at his disposal, resources that will build a more cohesive rendition, considering the cognitive process, perception and attention given in preparation for performing the work / Mestre

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T13:00:28Z (GMT). No. of bitstreams: 1 Castellani_FelipeMerker_M.pdf: 34231257 bytes, checksum: bc31cb58b5109989106920c3c78537a4 (MD5) Previous issue date: 2010 / Resumo: Abordamos no presente trabalho a noção de gesto musical circunscrita às poéticas dos compositores Luciano Berio e Brian Ferneyhough. O que as liga é a tomada de consciência de que os gestos musicais não devem ser entendidos como unidades fechadas e prontas para serem utilizadas, não importando o contexto em que serão inseridas. Seja por sua utilização como parte de um processo de significação musical, ou como parte de uma atitude composicional, o mais importante é sua possibilidade de desconstrução e reconstrução. Portanto, este é o principal foco deste trabalho.Nos escritos de Luciano Berio, a noção de gesto musical está interligada a outros aspectos como o virtuosismo, presente na prática instrumental e a teatralidade, produzida por uma relação entre corpo físico do instrumentista e o corpo sonoro gerado pelas ações do mesmo. Para ele os gestos são jogos de representação e significação, que ocorrem em função das convenções históricas e culturais. Por outro lado, para Ferneyhough, o gesto é o resultado de um trabalho paramétrico, que atua tanto com um enfoque tradicional, nas operações que manipulam as alturas e os ritmos, como em formas mais diferenciadas, nos modos de articulação e dedilhados instrumentais. O que o define não é um trabalho isolado, mas a interação entre os diversos procedimentos presentes em um contexto composicional que convergem em direção a um efeito global.Contextualizamos e integramos as questões teóricas através das análises das seguintes obras: as Sequenze de Luciano Berio e Second String Quartet, Time and Motion Study I, Time and Motion Study II e o quinto movimento de Kurze Schatten II, todas de autoria de Brian Ferneyhough.Além das investigações teórica e analítica, também propomos uma experiência prática composicional, que permite a ampliação e complementação de nosso campo problemático. Desta forma, apresentamos um relato de procedimentos composicionais trabalhado simultaneamente com o estudo da poética de Luciano Berio e Brian Ferneyhough / Abstract: In this work we approach the notion of musical gesture circumscribed to the poetic of the composers Luciano Berio and Brian Ferneyhough. What connects them is the awareness of the musical gestures that should not be regarded as closed units and ready for use, no matter the context in which they are inserted. Whether for its use as part of a process of musical signification, or as part of a compositional approach, the most important is its potential to deconstruction and reconstruction, so this is the main focus of this work. In the writings of Luciano Berio, the notion of musical gesture is interconnected to other aspects such as the virtuosity, present in the instrumental practice and the theatricality, produced by a relationship between the physical body and the sonorous body generated his the actions. For the composer the gestures are games of representation and meaning, which occur due to the historical and cultural conventions. On the other hand, for Ferneyhough, the gesture is the result of a parametric work, which operates both with a traditional approach, in the operations that manipulate pitches and rhythms, as in a more differentiated ways, in the modes of articulation and instrumental fingerings. What defines this gesture, it's not an isolated work, but the interaction between the various procedures found in a compositional context that converges toward a global effect. We contextualize and integrate the theoretical issues through the analysis of the following works: the Luciano Berio's Sequenze and Brian Ferneyhough's Second String Quartet, Time and Motion Study I, Time and Motion Study II and the fifth movement of Kurze Schatten II. In addition to the analysis, we also propose a practical compositional experience, which allows the expansion and complementation of our problematic field. Thus, we present a description of the compositional procedures worked simultaneously with the study of the poetics of Luciano Berio and Brian Ferneyhough / Mestrado / Processos Criativos / Mestre em Música

Orientador: José Augusto Mannis / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T00:23:48Z (GMT). No. of bitstreams: 1 Corilow_Ivan_M.pdf: 12476534 bytes, checksum: 04886bc4e8590f06b40b437ed7ea3eab (MD5) Previous issue date: 2014 / Resumo: A proposta deste estudo cujo foco é a obra Arcos sonoros da catedral Anton Bruckner ¿ meditação sinfônica (1996) do compositor Almeida Prado é apresentar uma reflexão norteada por três tipos de análises: a estrutural, onde materiais e técnicas composicionais são investigados; a semiótica, que trata da compreensão e interpretação de significados expressivos presentes no texto musical e a comparativa, com a função de identificar semelhanças e aproximações entre esta obra de Almeida Prado e as sinfonias de Bruckner. Após breves exposições sobre Almeida Prado e sobre a obra sinfônica de Bruckner, bem como a apresentação da fundamentação teórica, o estudo se centraliza nos gestos empregados por Almeida Prado ao longo da peça. Na medida em que as análises vão sendo efetuadas, a integração das três vertentes analíticas é constantemente buscada, na intenção de que os resultados alcançados possam proporcionar uma visão o mais integral possível de cada gesto presente. A edição digitalizada da obra, baseada no manuscrito de Almeida Prado e a composição de uma obra com base neste estudo fazem parte do trabalho / Abstract: The purpose of this research on Arcos Sonoros da Catedral Anton Bruckner - meditação sinfônica (1996) by the composer Almeida Prado is to present a reflection that is guided by three types of analysis: ¿ Structural: investigating materials and compositional techniques. ¿ Semiotic: understanding and interpreting expressive meanings present in the musical text. ¿ Comparative analysis: identifying similarities and approaches between this work of Almeida Prado and Bruckner symphonies. After a brief presentation about Almeida Prado and Bruckner¿s symphonies, as well as a review of the related literature, the research focuses on the gestures used by Almeida Prado throughout the work. The integration of the three analytical lines is constantly done so that the achieved results may provide wide view of each gesture present in the piece. Attached to this research are the digitalized edition of Almeida Prado¿s Arcos Sonoros, based on his manuscript and the composition of a work based on this study / Mestrado / Processos Criativos / Mestre em Música

Though Poulenc marks choral compositions with metronomic indications, there are problems concerning tempo. The purpose of this paper is to determine guidelines for dealing with choral tempo. Chapter II relates biographical information pertinent to the study. Style Is examined In Chapter III, determining aspects that call tempo marks into question and influence tempo determination. In Chapter IV, the manner in which Poulenc uses tempo indications in the choral works is analysed and the relationship between form and tempo examined. Chapter V records Information bearing upon tempo from Poulenc's collaboration with conductors, as well as examining recordings of Poulenc's music in which he played or with which he expressed approval. Guidelines for determining tempo are stated in Chapter VI.

The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.

By the early eighteenth century, French music was tangibly influenced by the Italian style which had already permeated much of Europe. The French Cantata is symptomatic of that often disparaged influx. The cantatas of Rameau are a significant contribution to an important form. Written almost entirely in the early years of the artist's career, they hold details of his stylistic development. In the present study of Rameau's cantatas several aspects of his style are discussed as they relate both to his theoretic writings and to the various influences of the time. Examples of those stylistic elements found in the cantatas are cited and discussed. There is, as well, a comparison of the works to the poetic form standardized by Rousseau.