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A Study of Selected Compositional Techniques Found in Young Ja Lee's Variations Pour Piano "Umma ya, Nuna ya" (1996)Shin, Eun Young 12 1900 (has links)
Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.
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The life and work of Maurice Greene (1696-1755)Johnstone, H. Diack January 1968 (has links)
The purpose of the present work is to shed fresh light not only upon the life and work of Maurice Greene , but also upon the whole state of music in England during the first half of the eighteenth century. Thus, while the basic framework is that of a full-scale historical biography, whole sections are devoted to a detailed discussion of various aspects of the contemporary scene. Chapter one traces the composer's family background end early career up to about 1710. His work at St. Paul's, and the general conditions which there obtained, are separately considered, as is also the musical history of the important Sons of the Clergy festival which Greene conducted from 1718 until 1750. The biographical narrative continues with an account of Greene's marriage and family affairs, and also deals with his influence as a teacher. In chapter four, the composer's career as a secular musician is surveyed against the background of London musical life, end special attention is given to the history of the Academy of Ancient Music with which he was for a time intimately connected. Throughout the 1720s, Greene's reputation grew. In 1727, he was appointed Organist and Composer of the Chapel Royal. Three years later, he took his doctorate at Cambridge, and was honoured with the title of Professor of Music in the University. In 1735, he succeeded Eccles as Master of the King's Band of Musick. Not yet thirty-nine, he now held every major musical appointment in the land. A detailed summary of this triumphal progress, and of those institutions in which Greens worked, forms the central core of the dissertation. A thorough examination of Greene's relationship with Handel is contained in chapter six. The two final chapters deal with the period during which Greene's fame stood at its height, his gradual decline, death, and posthumous reputation. An extended postscript surveys Greene's contribution to Boyce'e Cathedral Music. Two short appendices and a bibliography complete the volume. Volume two consists entirely of a Descriptive Catalogue of all Greene's knovn works, including those which are no longer extant. Both printed and MSS. sources are listed, end copyists identified wherever possible. Ten pages of plates provide examples of the composer's autograph, and those of his four chief pupil-copyists. There are also extensive notes containing any historical or bibliographical information which might possibly be of use to future researchers.
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Hendrik Hofmeyr : lewe en werk, 1957-1999Roos, Hilde 04 1900 (has links)
Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957
until July 1999. The discussion on his life focusses on the events that influenced the
establishment of his works and also those that had an effect on the style in which
Hofmeyr composes. Although he experienced a steady development and growth as a
composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen
Elisabeth of Belgium Composition Competition can be mentioned as major influences
on his life and thus on his work.
Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of
his music, it is important to know something of Hofmeyr's approach to music. The
chapter concludes that Hofmeyr can be described as a 'romantic' composer which
provides the reason why he has always been outspoken against the avant-garde
which characterises much of the artmusic of the zo" century.
The style analysis of the following chapter looks at three important parameters of any
composer's style: harmony, melody and form. It further also discusses Hofmeyr's
use of counterpoint and the specific playing techniques he requires of instruments.
These two aspects stand out as particular to the composer's style. Due to the scope
of the thesis, these aspects are dealt with in a limited way.
A more detailed discussion of two compositions follow, the song cycle Alleenstryd
and the String Quartet. Besides an analysis of both works, attention is also given to
how the composer's ideas on music are manifested in these works. The thesis
concludes with a detailed list of works including all works composed up to July 1999.
50 compositions are listed. To allow for maximum exposure of each work, the
duration as well as a description of each work are added to the otherwise standard
information. / AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy
geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig
om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en
die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy
groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin
Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig
word.
In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en
gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie
uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking
gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy
studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek
kenmerk.
Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van
enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se
gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente
verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis
se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte
redelik beperk.
In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus
Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van
hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se
uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n
volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50
werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting,
ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.
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The secular songs of John Blow (1649-1708) : an editionGrobler, Marie 11 1900 (has links)
Thesis (PhD) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition
The aim of this thesis is to assemble the 109 secular songs of John Blow in one
anthology, to transcribe them into modem notation and in doing so to make them
accessible for modem use and further research.
A significant feature of this collection is a group of 13 songs which have not been
printed previously and which are available only in manuscript form in special
collections in Great Britain. Other songs published during Blow's lifetime are
likewise found in special collections which are not accessible to the public. Many of
these songs are hard to decipher because of ageing. In some cases the paper is so thin
that the notes show through from the back to the detriment of readibility. Where the
manuscripts as well as contemporary publications exist, significant comparisons could
be made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118
manuscript could be compared with the published version in Choice Ayres and Songs
printed by Godbid and Playford (jnr) in 1683.
An important 'discovery' was finding that an autograph manuscript, Ah me, undone!
(Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw
(1980), but an excerpt from the song Happy the Man who languishing (1700). This
made it possible to compare an original manuscript by Blow with a publication of the
same song by Playford.
The 20th century has seen renewed interest in Blow's work: Frederick George
Edwards (1902) and William Cummings (1908), in particular, started this revival in
interest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) was
responsible for the next phase. Since 1975, Bruce Wood has been the main researcher
of Blow's anthems. Anthony Rooley, director of the Consort of Musicke in London
and Peter Holman, director of the Parley of Instrument, have contributed greatly to
the recent (1987-1999) revival of interest in Blow's music with their performances
and recordings making use of original instruments. This thesis, as well as my Master's
thesis (Grobler 1993), forms part of the most recent stage of research into Blow's
works.
Volume 1:
In the first chapter of the thesis the secular song of the English Restoration (1660-
1714) is presented in perspective. Blow's stylistic characteristics as they manifest
themselves in his secular songs are discussed. The criticism that this style evoked
from music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of French
and Italian vocal music, as well as the strong influence of Charles II's preferences on .
court composers' music, are highlighted. The function of the song in Restoration
society is discussed.
In the second chapter Blow's contribution to the different song types are discussed in
detail: the solo songs, songs for two voices and dialogues, songs for more than two
voices and songs for incidental theatre music.
The editorial process followed in transcribing the songs is explained. This is based on
the methods suggested in Caldwell (1985) and described in the Musica Britannica. A
discussion of the performing practice of the song contributes towards understanding
the Restoration song.
The textual commentary deals with aspects, such as notation and provides more
information about the manuscripts and publications which form the basis of this
investigation. A systematic index of sources and songs is provided.
Volume 2:
In this volume the 109 songs are presented chronologically in modem edited form.
The songs reflect the original manuscript or publication as clearly as possible; old
English spelling has been retained but archaic English letter forms have been
modernised. Clef signs, time signatures, and key signatures, as well as accidentals,
have been used according to modem practice. The figured bass is given as featured in
the sources and is not realised or expanded. / AFRIKAANSE OPSOMMING: Die sekulêre liedere van John Blow (1649-1708): 'n edisie
Die hoofdoel van die proefskrif is om John Blow se 109 sekulêre liedere toeganklik te
maak vir uitvoerings- en navorsingsdoeleindes deur hulle vir die eerste keer as een
versameling bymekaar te bring, getranskribeer in moderne musieknotasie.
Van besondere belang is die insluiting van dertien van Blow se liedere wat nog nie
voorheen gepubliseer is nie en slegs in manuskripvorm in spesiale versamelings in
Engeland beskikbaar is, en liedere wat wel tydens Blow se lewe gepubliseer is, maar
eweneens nie toeganklik is vir die algemene publiek nie. Die leesbaarheid van
sommige liedere word bemoeilik as gevolg van die ouderdom en toestand van die
papier. In 'n paar gevalle is die papier so dun dat die agterste notebeeld deurslaan en
die leesbaarheid erg belemmer.
Waar 'n manuskrip en kontemporêre weergawe van 'n lied bestaan, kon betekenisvolle
vergelykings getref word.
'n Belangrike 'ontdekking' wat gemaak is, is dat die outograaf-manuskrip vanAh me,
Undone (Lbl Add. 31457) nie 'n afsonderlike lied is soos wat Watkins Shaw (1980)
dit gelys het nie, maar 'n gedeelte is van die lied Happy the man, who languishing
(1700). Dit maak dit moontlik om in dié een geval Blow se oorspronklike komposisie
te vergelyk met Playford se gepubliseerde weergawe daarvan.
Dit is eers gedurende die twintigste eeu dat belangstelling in Blow se
musiekgeleidelik begin posvat het. Frederick George Edwards (1902) en veral
William Cummings (1909) het 'n belangrike rol in die Blow-herlewing gespeel.
Harold Watkins Shaw neem vanaf 1936 die leiding met Leland Clarke (1949), 'n
Amerikaner, wat die die volgende fase verteenwoordig. Bruce Wood staan vanaf 1975
aan die voorpunt met sy navorsing oor Blow se Anthems. Anthony Rooley, direkteur
van die Consort of Musicke in Londen asook Peter Holman, direkteur van die Parley
of Instruments het vanaf 1987 met hulle uitvoerings en opnames 'n groot rol gespeel
om Blow se musiek weer aan die publiek bekend te stel. Hierdie tesis, asook my
Magister-verhandeling (Grobler 1993) vorm ook deel van hierdie nuwe belangstelling
in Blowen Engelse Restourasie-musiek.
Volume 1:
In die eerste hoofstuk word die sekulêre lied van die Engelse Restourasie-era (1660-
1714) in perspektief geplaas. Saam met 'n bespreking oor bydraes van John Blow, Henry Purcell en hulle tydgenote tot die genre, word die ontwikkeling van die lied en
uitvoeringspraktyke daarvan krities ondersoek. Terselfdertyd word insae verkry in die'
tydgenootlike liedpublikasies in Engeland gedurende die laat 17de en vroeg 18de eeu.
Daarna volg 'n bespreking van Blow se styleienskappe soos dit veral in die sekulêre
lied manifesteer. Kritiek wat Blow se werkswyse deur die eeue van musiek-kritici
soos bv. Charles Burney (1726-1814) uitgelok het, word in historiese perspektief
geplaas.
Blow se bydrae tot die verskillende liedtipes word breedvoerig bespreek: die sololied,
die twee-stemmige lied en dialogue, die lied vir meer as twee stemme en die lied as
bykomstige teatermusiek. Die styleienskappe van hierdie liedere, die invloed van die
Franse en Italiaanse vokale komposisies en die sterk invloed wat Charles II se voorkeure
op die hofkomponiste se musiek gehad het, word uitgewys. Die funksie van die
lied in die destydse samelewing kom ook onder die loep.
Die redaksionele werkswyse wat gevolg is met die transkribering van die liedere is
gebaseer op moderne benaderings tot dié veld soos Caldwell (1985) dit voorstaan en
toegepas word in die Musica Britannica (1953, 1993, 1996). 'n Bespreking oor die
uitvoeringspraktyk van die lied wil 'n bydrae lewer tot die begrip van die term 'Song'
soos dit in die Restourasie-tydperk verstaan is.
Die tekstuele kommentaar lig aspekte soos notasie in die liedere uit en gee toeligting
oor manuskripte en publikasies wat die ondersoek ten grondslag lê. Ten slotte word al
109liedere, asook liedmusiek, en -publikasies in 'n sistematiese indeks saamgevat.
Volume 2:
In dié volume verskyn die 109 sekulêre liedere chronologies in moderne geredigeerde
vorm. Die liedere word sover moontlik weergegee soos dit in die oorspronklike
manuskripte en publikasies voorkom: die ouer Engelse spelling word behou maar
argaïese lettervorme is gemoderniseer. Sleuteltekens, tydmaattekens, toonsoorttekens
en skuiftekens is in ooreenstemming met huidige praktyke. Die besyferde bas IS
weergegee soos dit in die bronne voorkom, en is nie aangevul of gerealiseer nie.
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Perspectives on the Musical Essays of Lorenz Christoph Mizler (1711-1778)Pinegar, Sandra 08 1900 (has links)
This study provides commentary on Mizler's Dissertatio and Anfangs-Gründe des General Basses. Chapter V is an annotated guide to his Neu eröffnete musikalische Bibliothek, one of the earliest German music periodicals. Translations of Mizler's biography in Mattheson's Grundlage einer Ehrenpforte and selected passages of Mizler's Der musikalischer Staarstecher contribute a sampling of the critical polemics among Mizler, Mattheson, and Scheibe. As a proponent of the Aufklärung, Mizler was influenced by Leibnitz, Thomasius, and Wolff. Though his attempts to apply mechanistic principles to music were rejected during his time, his founding of a society of musical sciences, which included J. S. Bach, Telemann, Handel, and C. H. Graun as members, and his efforts to establish music as a scholarly discipline deserve recognition.
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The Piano Style of Maurice RavelRoberts, Jack Lundy, 1931- 05 1900 (has links)
The purpose of this thesis is to discuss the piano style of Maurice Ravel, including his musical style and influences of other composers on his piano works.
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The Songs of John Alden CarpenterMendenhall, Lucille (Miriam Lucille) 05 1900 (has links)
The purpose of this study is to give some insight into the solo songs of John Alden Carpenter and show their position in the history of song composition in general.
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The Organ Concertos of George Frideric HandelMartin, William Henderson 08 1900 (has links)
This thesis analyzes the organ concertos of George Frideric Handel
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A Study of the Fugal Writing of Paul HindemithCody, Robert O. (Robert Oswald), 1928- 08 1900 (has links)
Paul Hindemith's compositions are, for the most part, contrapuntal; and since the construction of such a traditionally contrapuntal medium as the fugue was brought to such a high degree of musical expression in the fugal writing of J. S. Bach, it is the purpose of this thesis to compare Hindemith's fugal style with the standard set by J. S. Bach.
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The Lieder of Richard StraussJackson, Jerald E. (Jerald Eugene) 01 1900 (has links)
This thesis discusses the lieder of Richard Strauss including a comparison between Richard Strauss and Johannes Brahms.
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