Brahms första pianokonsert i d-moll är ett av pianorepertoarens största verk, med en genomspelning som tar cirka 50 minuter. Det är ett maratonlopp får pianisten som konstant måste hävda sin rätt gentemot den stora orkestreringen. I detta arbete undersöks sambandet mellan framförandet av tre olika pianister samt deras relation till notskriften i Brahms första pianokonsert i d-moll. Syftet är att starta en diskussion varför det kommer sig att olika pianister kan uppfatta och tolka musiken olika även om de utgår ifrån samma notbild.

abstract: The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms. / Dissertation/Thesis / D.M.A. Music 2013

Submitted by Israel Vieira Neto (israel.vieiraneto@ufpe.br) on 2015-03-06T16:39:04Z No. of bitstreams: 2 TESE POLLYANA JUCÁ SANTANA.pdf: 2545887 bytes, checksum: 1182c9de023e52ba6a89cb5fca4b3afe (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-06T16:39:04Z (GMT). No. of bitstreams: 2 TESE POLLYANA JUCÁ SANTANA.pdf: 2545887 bytes, checksum: 1182c9de023e52ba6a89cb5fca4b3afe (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2013-09-20 / O primeiro objetivo desta pesquisa é analisar a atual estrutura brasileira de tributação/transferências direta, estimando alíquotas efetivas (médias e marginais). A metodologia adotada consiste em utilizar o modelo de microssimulação de tributos/benefícios desenvolvido para o Brasil, o BRAHMS, Brazilian Household Microsimulation System que é uma programação computacional que aplica as regras do sistema de tributação direta e de transferências individuais às pessoas da amostra (PNAD/2009), e através de interações entre as normas fiscais e as características individuais e familiares é possível calcular a renda disponível. Os resultados sugerem que o trabalhador brasileiro enfrenta tributação direta muito baixa, com alíquotas efetivas bem menores que as observadas em estimações para outros países. O segundo objetivo é estimar o comportamento das famílias brasileiras com relação à oferta de trabalho, empregando um modelo microeconômico de escolha discreta e o modelo de microssimulação de tributos/transferências desenvolvido para o Brasil, e a partir do modelo estimado, avaliar o impacto de reformas na tributação e no sistema de benefícios sociais sobre o bem-estar individual e social. Assim como observamos em outras pesquisas, a elasticidade-hora e elasticidade-participação apresentam valores reduzidos, menores que a unidade, sugerindo que a oferta de trabalho não responde com grande intensidade a mudanças fiscais que provocam alteração da renda líquida. São realizadas cinco simulações distintas, com o objetivo de exemplificar o uso da ferramenta aqui apresentada para avaliação de políticas públicas. Como esperado, as variações de oferta de trabalho não são muito elevadas, mas cada simulação apresenta uma particularidade em relação a alterações do bem-estar social e do orçamento público.

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-25T22:36:57Z (GMT). No. of bitstreams: 1 Fiorini_CarlosFernando_M.pdf: 5182383 bytes, checksum: b49c0ab061fa9fd089cc0e3b639a8fa2 (MD5) Previous issue date: 1999 / Resumo: Tendo em vista a preparação de um regente que se dispõe a executar um Réquiem Alemão op. 45 de Brahms, o presente trabalho sugere um processo para auxilia-los desde o primeiro contato com a partitura até a sua apresentação em concerto. Os capítulos são divididos em duas partes: A primeira refere-se à pesquisa teórica desenvolvida antes do início dos ensaios. São tratados separadamente em três capítulos os aspectos históricos, o texto e os elementos da estruturação musical. O quarto capítulo compõe a parte prática do trabalho, onde são discutidos os problemas de ordem técnica nos âmbitos vocal, coral e orquestral, e apresentadas sugestões a serem utilizadas nos ensaios. È o capítulo que na opinião do autor, justifica o esforço de realizar este trabalho, pois nele o regente pode encontrar registrado subsídios que possam auxilia-lo durante o contato com cantores e instrumentistas no preparo da obra / Abstract: Primarily addressed to the conductor who plans to perform A German Requiem op. 45 by Brahms, this work presents a study process that will assist him with the preparation of the composition from the very initial contact with the musical score to its ultimate public performance. Two parts comprise this work. The first, dealing with theoretical research developed prior to the first rehearsal, encompasses the first three chapters where historical perspective and background as well as text and structural musical elements of the work are studied separately. The second, constituted entirely by the fourth chapter, discusses technical problems in the vocal, choral and orchestral areas., and presents suggestions that could be useful in the course of rehearsals. It is the chapter that, in the opinion of the author, justifies all the effort of the present study. It is here where the conductor can find elements and subsidies that can be of help in the course of his relationship with singers and player engaged in the preparation of the work / Mestrado / Mestre em Artes

"Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.

I detta arbete utforskas interpretation av västerländsk konstmusik, och olika utgångspunkter och tankesätt kring detta. I studien undersöks Johannes Brahms sonat i Ess dur för klarinett och piano (Op. 120, No. 2). Syftet var att ta upp och gräva djupare i aspekter såsom tidstroget framförande, kompositörens intentioner och eget uttryck för att kunna utveckla och förstå sin egen tolkning så mycket som möjligt. Sonaten har undersökts på två sätt. Dels presenteras en analys av första satsen, med fokus på motiv och teman och hur dessa förhåller sig till bl.a. harmoniken, samt en diskussion om huruvida musiken är i sen stil, alltså stildrag som brukar vara gemensamma för konstnärers sista verk. Det andra sättet sonaten har undersökts på är genom intervjuer med musiker om hur de tänker när de tolkar det här stycket. Studiens resultat påvisar att den djupare förståelse som en musikalisk analys medför innebär att jag som musiker kan fatta snabbare och mer motiverade beslut i min interpretation. Genom att sätta mig in i kompositörens liv och mående utvecklades en djupare känsla för stycket och en vilja att uttrycka något som känns rätt.

The research presented here was undertaken with the aim of providing today’s musical practitioners (anyone from a scholar, performer, composer, or even listener) with a framework to begin understanding how aesthetic movements and performance practices interact with the socio-professional layout of classical music. I present what I see as a major shift from practitioner-based systems of value, as seen in Paris in the 1830s, to a practice-based system of value which came to prominence in the 20th century. This exploration covers the topics of piano literature, virtuosity, canon formation, both performance and compositional practices, as well as the rise of musical institutions in the past century. The third chapter uses the work of Michel Foucault to shed light on how the developments that occurred in classical music mirror wider societal changes. The dissertation closes with a look at how practitioners might restructure classical music’s value-giving systems so that they might regain their agency and ability to shape and participate in their field’s development.

Abstract to come later

It is the purpose of this study to aide in the understanding of the Horn Trio through a biographical sketch of Brahms, a discussion of his use and characterization of the instruments, and the thematic, harmonic, and structural organization of the trio.

No description available.