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This doctoral presentation consists of the preparation of critical editions of eight orchestral works by J.B. McEwen: Symphony in A minor (1895-99), Viola Concerto (1901), Coronach (1903), The Demon Lover (1907-08), Grey Galloway (1908), Solway, A Symphony (1911), Hills 'o Heather (1918), and Where The Wild Thyme Blows (1936). In the absence of any monograph on McEwen there is a chapter which brings together for the first time the biographical information that can be culled from various sources; some, like the correspondence between Henry George Farmer and McEwen in the late 1940's, has never been discussed before. A separate chapter surveys the collection of McEwen manuscripts held at Glasgow University Library, its condition, the extent of it, and how it came to be housed there. There follows a discussion of each of the selected works from the point of view of the editorial issues relating to them and also some aspects of McEwen's stylistic development. It was important to McEwen that a composer spoke in his native voice through his music as is evident in a letter he wrote to H.G. Farmer in 1947(1). Discussion of this aspect of his expressive style is therefore helpful in understanding his development from the early Symphony in A minor of 1895-99 to his last orchestral work, Where The Wild Thyme Blows of 1936. Such a stylistic study is secondary to the main thrust of the thesis which is a critical edition, but it is necessary in order to fully understand the complex issues involved in making McEwen's last orchestral work performable. Where The Wild Thyme Blows was left incomplete and the present editor has made a performing version. There is a brief concluding section which consolidates evident features of the McEwen manuscripts which would be useful for further studies of these papers. Each of the selected works is presented as a separate volume in a scholarly edition with full critical commentary given at the end of each volume. (1) Glasgow University Library catalogue n.MS Farmer 217

John Williams är att betrakta som en av giganterna inom den amerikanska filmmusikkompositionen. Förutom filmmusik så har han komponerat ett flertal beställda solokonserter för betydande instrumentalister och orkestrar, däribland The Five Sacred Trees för fagott och symfoniorkester som är skriven för New York Philharmonics 150-års jubileum och denna orkesters solofagottist Judith LeClair. I detta examensarbete analyseras de första två satserna från ett motiviskt, strukturellt och i viss mån harmoniskt perspektiv, samt genomgås hur det kan påverka instuderingsprocessen och författarens interpretatoriska val. Referensmaterialet som används är främst en pianoreduktion av stycket, samt en doktorsavhandling gällande styckets pedagogiska användningsområden av John Michael Lopinto från 2004. Slutsatser efter analysen inkluderar bland annat att de två satserna i stora drag kontrasterar varandra, att konserten innehåller så pass många olika klangkaraktärer att det krävs extra arbete från solistens sida för att kunna framföra denna med endast piano, samt att John Williams kontinuerligt utvecklar motiv från tidigare verk och inkorporerar dem i konserten och har fortsatt att arbeta på detta vis även efter tillkomsten av denna konsert. Min förhoppning är att det här arbetet ökar min egen och omvärldens insikter om denna konsert, och ökar sannolikheten för att detta verk framförs i större utsträckning i framtiden. / <p>John Williams fagottkonsert, sats 1-2.</p><p>Medverkande: Gabriella Varga Karlsson, fagott</p><p>Georg Öquist, piano</p><p></p><p></p><p></p>

A presente tese analisa a emergência da modernidade musical brasileira entre os anos 1889 e 1914. Analisa os discursos que a historiografia panorâmica tradicional brasileira construiu sobre a música de concerto daquele período, e analisa os discursos produzidos na própria época. Verifica que as iniciativas de atualização técnica e estilística da música de concerto respondiam a uma política oficial de modernização das artes, que tinha a Europa como modelo de civilização. Verifica também que a cultura das elites republicanas utilizava a prática da música de concerto como um mecanismo de distinção social. Conclui que as interações entre as concepções elitistas sobre música, as teorias raciais, o evolucionismo, e o cosmopolitismo legitimavam práticas culturais excludentes, reafirmando hierarquias sociais. Tais interações resultaram no aprofundamento do abismo entre a música de concerto e o público, na afirmação de hierarquias entre gêneros musicais, na valorização da noção de autonomia da obra musical e na manutenção dos vínculos com a música europeia, impedindo o surgimento de movimentos de vanguarda musical contra hegemônicos no Brasil no início do século XX. / This thesis analyzes the emergence of Brazilian musical modernity between the years 1889 and 1914. It analyzes the discourses that the Brazilian traditional panoramic historiography has elaborated about art music of that period, and analyzes the discourses produced at the time. It notes that the initiatives for the technical and stylistic art music\'s updating have risen in response to an official politics of modernization of fine arts, which had Europe as a model of civilization. It also notes that the culture of the Republican elites has used the practice of art music as a mechanism of social distinction. It concludes that the interactions between elitist conceptions about music, racial theories, evolutionism, and cosmopolitanism have legitimized exclusionary cultural practices, reaffirming social hierarchies. These interactions have resulted in a deepening gap between art music and the public, in the affirmation of hierarchies between musical genres, in the valorization of autonomy\'s notion of the musical work and in the maintenance of links with European music, preventing the emergence of vanguard movements counter-hegemonic in Brazil in the early twentieth Century.

Thesis (D.M.A.)--Boston University. This item includes the dissertation paper, handouts, as well as a video of the February 26, 2017 lecture and clarinet performance by Karen Luttik. / Géza Frid (1904-1989) was a significant Hungarian-born Dutch composer and pianist of Jewish descent. His compositional style was highly regarded in the Dutch musical scene of the 20th century; his music has been programmed on multiple occasions by the Concertgebouw Orchestra and in 1949 and 1954 won the City of Amsterdam Music Award. Major influences on Frid’s musical development started in his native Hungary where he studied with Béla Bartók and Zoltán Kodály before his move to the Netherlands. In 1972, he composed an unusually lovely concerto for Bb, A, Eb and bass clarinets (Op. 82) and dedicated it to George Pieterson, principle clarinet with the Concertgebouw Orchestra. Scholarly discussions of Géza Frid’s clarinet music are not to be found in either the US based International Clarinet Society’s The Clarinet, or in the Dutch based De Klarinet. Intensive World Cat library searches have yielded no recordings of this piece, and currently there is not even one recording of Frid’s Concerto for Clarinets on YouTube or in the Naxos Music Library. The Concerto for Clarinets is a significant addition to the standard clarinet repertoire and needs to be introduced to the world wide clarinet community. Furthermore, save for some short selections on the Géza Frid website set up by his son, Arthur Frid and a Wikipedia article, no translations exist of Géza Frid’s autobiographical material. His life story was exceedingly interesting, having been a Jewish composer during the World War II years who was not allowed to perform or compose for years during the German occupation of the Netherlands. Luckily he survived the war years by going into hiding; he managed as part of the musician’s resistance to find ways to perform and work illegally giving clandestine concerts and falsifying documents. These were exceedingly dangerous risks, yet ones Géza Frid and his fellow musicians were willing to take because of their music. Frid published two autobiographical books and numerous articles for the Dutch music magazine Mens en Melodie, (People and Melody) revealing his deep musical insights; especially those relating to the music of the Concerto need to be summarized and translated to English from Dutch. This paper provides a general overview of the historical aspects of Géza Frid’s life, his WWII experiences, and his position as one of many persecuted Jewish musicians at the time. Géza Frid’s autobiographical information relating to his personal friendships with Bartók and Kodály is of interest when considering his music. Summaries and some translations are made of his two Dutch language autobiographical books, In 80 Jaar de Wereld Rond (Around the World in 80 Years) and Oog in Oog Met… (Eye to Eye With…). A basic analysis of Frid’s Concerto for Clarinets is provided regarding form, the various instrument appearances, and a special feature invented by George Pieterson called the ‘tremolo special’. Since this concerto was specifically composed for the Reformed Boehm system clarinets which George Pieterson used, a discussion of the differences between the French, German and Reformed Boehm clarinet systems is included. The performance portion of this project is a historically informed performance of this piece on the specific models of clarinets for which it was written. George Pieterson passed on in April 2016, and this project is a fitting tribute of his teaching to a generation of professional clarinetists in the Netherlands including the author.

Submitted by Sylvia Leticia Guida Lima (sylviaguida@gmail.com) on 2015-04-13T14:55:42Z No. of bitstreams: 1 Estudo de caso Sesc Partituras_dissertacao_Lima_Sylvia Leticia Guida.pdf: 13418431 bytes, checksum: 2c6e41d4e0d1062b0176ff17c4cd010f (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2015-05-04T19:13:45Z (GMT) No. of bitstreams: 1 Estudo de caso Sesc Partituras_dissertacao_Lima_Sylvia Leticia Guida.pdf: 13418431 bytes, checksum: 2c6e41d4e0d1062b0176ff17c4cd010f (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2015-05-06T14:40:16Z (GMT) No. of bitstreams: 1 Estudo de caso Sesc Partituras_dissertacao_Lima_Sylvia Leticia Guida.pdf: 13418431 bytes, checksum: 2c6e41d4e0d1062b0176ff17c4cd010f (MD5) / Made available in DSpace on 2015-05-06T14:40:34Z (GMT). No. of bitstreams: 1 Estudo de caso Sesc Partituras_dissertacao_Lima_Sylvia Leticia Guida.pdf: 13418431 bytes, checksum: 2c6e41d4e0d1062b0176ff17c4cd010f (MD5) Previous issue date: 2015-03-31 / The research raises questions about the access to sheet music and its relationship to the dissemination of Brazilian classical music repertoire from a case study focused on Sesc Partituras, a website for free download of digitalized scores. The study was conducted through a questionnaire with site users and statistical data on access generated by Google Analytics from 2012 to 2014. It was concluded that although the experiences of digital collections of Brazilian music scores available online are recent, they represent a breakthrough and can contribute greatly to the dissemitation of Brazilian classical music. / A pesquisa trata do acesso a partituras e sua relação com a difusão de repertório da música brasileira de concerto, a partir de um estudo de caso do Sesc Partituras, um site de disponibilização para download gratuito de partituras digitalizadas. O estudo foi realizado a partir de questionário com usuários do site e dados estatísticos de acesso gerados pelo Google Analytcs, no período de 2012 a 2014. Conclui-se que apesar de relativamente recentes os acervos digitais de partituras de música brasileira representam um grande avanço e podem contribuir bastante para a circulação da música brasileira de concerto.

A presente tese analisa a emergência da modernidade musical brasileira entre os anos 1889 e 1914. Analisa os discursos que a historiografia panorâmica tradicional brasileira construiu sobre a música de concerto daquele período, e analisa os discursos produzidos na própria época. Verifica que as iniciativas de atualização técnica e estilística da música de concerto respondiam a uma política oficial de modernização das artes, que tinha a Europa como modelo de civilização. Verifica também que a cultura das elites republicanas utilizava a prática da música de concerto como um mecanismo de distinção social. Conclui que as interações entre as concepções elitistas sobre música, as teorias raciais, o evolucionismo, e o cosmopolitismo legitimavam práticas culturais excludentes, reafirmando hierarquias sociais. Tais interações resultaram no aprofundamento do abismo entre a música de concerto e o público, na afirmação de hierarquias entre gêneros musicais, na valorização da noção de autonomia da obra musical e na manutenção dos vínculos com a música europeia, impedindo o surgimento de movimentos de vanguarda musical contra hegemônicos no Brasil no início do século XX. / This thesis analyzes the emergence of Brazilian musical modernity between the years 1889 and 1914. It analyzes the discourses that the Brazilian traditional panoramic historiography has elaborated about art music of that period, and analyzes the discourses produced at the time. It notes that the initiatives for the technical and stylistic art music\'s updating have risen in response to an official politics of modernization of fine arts, which had Europe as a model of civilization. It also notes that the culture of the Republican elites has used the practice of art music as a mechanism of social distinction. It concludes that the interactions between elitist conceptions about music, racial theories, evolutionism, and cosmopolitanism have legitimized exclusionary cultural practices, reaffirming social hierarchies. These interactions have resulted in a deepening gap between art music and the public, in the affirmation of hierarchies between musical genres, in the valorization of autonomy\'s notion of the musical work and in the maintenance of links with European music, preventing the emergence of vanguard movements counter-hegemonic in Brazil in the early twentieth Century.

This diploma thesis deals with Dmitry Shostakovich and his works. Its aim is to map the life of the composer and to further characterize his two works, Concerto for Violin and Orchestra No. 1 a minor op. 77 and String Quartet No. 8 in C minor op. 110. The thesis is divided into three chapters. The first chapter is about composer's life in the difficult living and creative conditions of the Soviet Union of that time and about selected compositions of his. In the following two chapters, the analyzes of the two above-mentioned works and the historical context in which they were create are presented. The thesis also provides an interpretative analysis of the Concerto for Violin and Orchestra No. 1 a minor, which is also an interpretative comparison of the concert recordings of David Oistrach and Julian Rachlin.