Treatise (D.M.A.)--University of Texas at Austin, 2004. / Supervisors: Eugene Gratovich and James Buhler. Vita. Includes bibliographical references. Also available from UMI.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 144-145). Available also in a digital version from Dissertation Abstracts.

Thesis (D. Mus. Arts)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [52]-54).

München, Phil. Diss. v. 7. März 1925 [1927]. / Nicht für den Austausch.

Inaug.-Diss.--Marurg. / Lebenslauf. Published in full (vii, 119 p.) as Das Klavierkonzert der Berliner Schule, mit Kurzem überblick über seine allgemeine Entstehungsgeschichte und Spätere Entwicklung. (Sammlung Musikwissenschaftlicher Einzeldarstellungen, 10. Hft.). eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.M.)--University of Wisconsin--Madison, 1961. / Typescript. Musical examples (ms.): leaves 42-78. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references and discography (leaves 35-41).

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2017-04-17T15:07:27Z No. of bitstreams: 1 2016_AlexMarquesDuarte.pdf: 4585624 bytes, checksum: 3ff1e91f2723b286f10a995af988248c (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2017-04-18T15:49:15Z (GMT) No. of bitstreams: 1 2016_AlexMarquesDuarte.pdf: 4585624 bytes, checksum: 3ff1e91f2723b286f10a995af988248c (MD5) / Made available in DSpace on 2017-04-18T15:49:15Z (GMT). No. of bitstreams: 1 2016_AlexMarquesDuarte.pdf: 4585624 bytes, checksum: 3ff1e91f2723b286f10a995af988248c (MD5) / Tendo como objeto de pesquisa o Concerto para iPad e Orquestra do compositor Ned McGowan, obra única do gênero, este projeto objetiva realizar um estudo sobre o processo de inserção dos dispositivos móveis nas práticas musicais no período atual. O referido Concerto quebra paradigmas ao trazer para a sala de concerto um iPad, propondo um novo conceito para o dispositivo. A pesquisa procura entender como esse dispositivo se insere em contextos formais da música por meio de um estudo empírico que inclui a realização do referido Concerto pela Orquestra do Teatro Nacional Cláudio Santoro, concerto este idealizado e gerido pelo autor desta dissertação, contando com a presença do próprio compositor. A pesquisa conta também com a transcrição da palestra do compositor Ned McGowan na conferência TEDx para realizar uma ponte entre o pensamento do compositor e os referenciais teóricos contidos no trabalho, além de entrevistas com o iPadista e o regente. A discussão de Pierre Schaeffer acerca das experimentações instrumentais e o manifesto „A Arte dos Ruídos‟ de Luigi Russolo dão suporte para a discussão contida no trabalho, além de uma comparação entre o referido Concerto e a peça „Amanhecer de uma Cidade‟ de Russolo. Uma análise da obra de McGowan e um apanhado de práticas musicais realizadas com dispositivos móveis farão a ponte entre a pesquisa e a as conclusões ao final do trabalho. / Using the Concerto for iPad and Orchestra by Ned McGowan, the only work of its kind, as the main object, this project aims to study the integration process of mobile devices in the current period‟s musical practices. The Concert breaks paradigms bringing to the concert hall an iPad, proposing a new concept for the device. The research seeks to understand how this device is inside formal music through an empirical study that includes the realization of this Concerto by the Orchestra of the Teatro Nacional Claudio Santoro. The Concerto was idealized and managed by the author of this work, and had the presence of the composer himself. The work also includes a transcription of McGowan‟s speech at TEDx conference to make a bridge between the composer‟s thought and the theoretical references in the text, as well as interviews with the iPadist the conductor. Pierre Schaeffer‟ discussion about the instrumental experimentation and the manifesto “The Art of Noise” by Luigi Russolo support the discussion contained in the work, and a comparison between the Concerto for iPad and the piece “Dawn of a City” by Russolo. An analysis of McGowan‟s work and an overview of musical practices performed with mobile devices will make the bridge between the research and the conclusions at the end of the work.

Thesis (Ph.D.)--Boston University / The study and analysis of all eight cadenzas written by Ludwig van Beethoven for the first four of his piano concertos, reveals, as much as can be gleaned from this evidence, important information about Beethoven's approach to improvisation. This subject has long eluded investigation due to the paucity of musical and collateral evidence. The analyses of these cadenzas, seven of which are complete, reveal surprising information about the nature of the harmonic plan of the cadenzas, and the choice of thematic material in each section of the cadenza. They also uncover consistencies of pattern and compositional technique that clearly set these cadenzas apart from the late eighteenth-century norms, best exemplified by those of Mozart. Beethoven may have been prompted to commit these cadenzas to paper in 1809 by the fear of piracy, a fact he noted with increased attention, after his retirement from the concert stage 1n 1807. And by 1809 he had already begun study of Carl Philipp Emanuel Bach's Versuch and Daniel Gottlob Turk's Clavierschule in preparation for the anticipated education of the Archduke Rudolph. The keyboard fantasy, an important subject in the writings of both these theorists, had i ts own set of rules and compositional approaches. That Turk drew a connec t ion between the fantasy and the cadenza as similar compositional forms, coupled with the amount of detailed description of the fantasy in Bach's treatise, may have served as an inspiration and perhaps guideline for Beethoven's composition of both the Fantasy, op. 77, and the cadenzas in the same year. Certain stylistic characteristics predominate in the cadenzas: the use of imitation at the outset; the greatest extent of fantasy- like free modulation in the first of the three formal sections; the development of the subsidiary theme in the second section, and the strikingly careful avoidance of a strong dominant prolongation before the actual closing dominant of the cadenza. The cadenzas show an increasing predilection to grow in the direction of compositional, rather than extemporizational planning, a tendency that reaches its zenith in the written-in cadenzas in the Fifth Piano Concerto, the Violin Concerto, and the unfinished Sixth Piano Concerto.

Finger Spirits is a concerto for piano and orchestra. The traditional concerto form of three, large, separate movements is not present here. It is a one-movement work in three continuous sections. Certain premises of the concerto are retained: (1) the interplay of soloists and orchestra; (2) the display of vistuosity; and (3) the use of fixed thematic elements. Throughout the performance, the pianist alternates playing actual notes with gestures used in manual communication and mimetic elaborations created by the composer. The gestures delineate shapes of particular objects and depict emotions that are present in the work as it unfolds. Finger Spirits explores the act of performance and alters the traditional concert ritual of audience-performer opposition. In addition, it incorporates gestures as an extension of the role of the pianist and thus represents a form of music theater.

No description available.