Thesis (D.M.A)--University of Maryland, College Park, 2005. / Compact discs.

Thesis (D.M.A)--University of Maryland, College Park, 2005. / Compact discs.

Thesis (M.M.)--University of Wisconsin--Madison, 1961. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [172-173]).

Thesis (M.A.)--University of California, San Diego, 2009. / The 1st work for violin, clarinet, violoncello; the 2nd for piano with chamber orchestra; the 3rd for 2 flutes (1 doubling on piccolo), 2 clarinets, 2 violoncellos. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

Made available in DSpace on 2016-12-08T17:06:42Z (GMT). No. of bitstreams: 1 112514.pdf: 13441942 bytes, checksum: 91d8223e0d9aa82ef69cb94b5da98970 (MD5) Previous issue date: 2013-04-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Localizada no planalto norte de Santa Catarina, São Bento do Sul é conhecida como ¿cidade da música¿, e em seu cenário musical destaca-se a Orquestra de Câmara São Bento do Sul (OCSBS). Fundada em 1955 e composta basicamente por alunos e professores da Escola de Música Donaldo Ritzmann, a OCSBS carrega consigo a herança das primeiras orquestras da cidade. Este trabalho divide-se em duas partes: a primeira apresenta uma pesquisa histórica sobre a prática orquestral em São Bento do Sul com enfoque na OCSBS, a partir de documentos, programas e demais registros, encontrados principalmente nos arquivos da Escola de Música Donaldo Ritzmann e com pessoas ligadas à OCSBS. Na segunda parte são discutidos os resultados de uma pesquisa buscando determinar o papel da orquestra para o município como formadora de gosto, os hábitos musicais e perfil social do seu público.

Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T03:18:02Z (GMT). No. of bitstreams: 1 Kubala_RicardoLobo_D.pdf: 9122246 bytes, checksum: 3619885cdef78ff9e1b48b23e899406d (MD5) Previous issue date: 2009 / Resumo: O Concerto para Viola e Orquestra de Antônio Borges-Cunha foi composto em 2007 e estreado no mesmo ano, em apresentação que teve o autor desta investigação como solista e o próprio compositor como regente. Desde o início do projeto do Concerto, ocorreu amplo diálogo entre compositor e solista acerca da natureza da viola e da concepção estética da obra. Dessa forma, o intérprete pôde acompanhar o processo de criação da obra com proximidade, que, ao permitir uma visão abrangente dos procedimentos composicionais e ideário estético de Borges-Cunha, forneceu informações acerca da organização do material musical e expectativas do compositor em relação a aspectos expressivos. No primeiro capítulo, investiga-se a obra por meio da observação de sua estruturação formal, o que resulta em associações entre variedade de elementos de relevância, tanto para o entendimento da obra em si como para tomadas de decisões no âmbito interpretativo. Nos capítulos que se seguem, estudam-se aspectos do processo criativo, com enfoque na participação do intérprete durante a elaboração da escrita para a viola solista. No segundo capítulo, observa-se o tratamento das possibilidades tímbricas da viola. Por meio de viés histórico, realiza-se uma reflexão sobre maneiras de manipular o potencial sonoro da viola, as quais resultaram no estabelecimento de alguns padrões de atribuição de valor ao timbre do instrumento. Verifica-se a ocorrência desses modelos sonoros e suas variações na obra investigada. No terceiro capítulo, desenvolvem-se considerações sobre gesto em música, circunscritas ao contexto do percurso de elaboração da escrita para viola solista. São seguidas de aplicação desses conceitos a questões específicas da área de práticas interpretativas, mediante um trabalho de delineamento de sensação de movimento e direção, coadunado com características estilísticas levantadas anteriormente. Por fim, no último capítulo, disserta-se sobre temas relacionados à técnica instrumental. Busca-se conciliar aspectos ligados à dificuldade técnica demandada pela escrita do Concerto com atributos estilísticos dessa obra, entre os quais está a intenção do compositor de escrever algumas passagens propositalmente de maneira pouco idiomática. Listam-se exemplos de alterações que resultaram do diálogo entre compositor e intérprete. Esta investigação versa sobre o tema interpretação e sobre questionamentos quanto aos caminhos que instrumentistas podem tomar na busca por resultados ricos em elementos expressivos, resultados esses que, conclui-se, também são objetivos de Borges-Cunha. É um estudo dirigido especificamente para a área de práticas interpretativas e, em âmbito mais abrangente, também para compositores que se interessem pelo ponto de vista do intérprete sobre o processo de criação de uma obra / Abstract: The Concerto for Viola and Orchestra by Antônio Borges-Cunha was composed in 2007 and premiered in the same year in a concert, which featured the author as soloist and the composer as conductor. From the very beginning of the project, there was ample dialogue between composer and soloist as to the nature of the viola and as to the aesthetic concept of the work. The performer was thus able to closely accompany the work's creative process, which permitted an allencompassing vision of Borges-Cunha's compositional procedures and aesthetic ideal, and which rendered information on the organization of the musical material and the composer's expectations regarding expressive aspects. In the first chapter, the work's formal structure is investigated. This results in associations between a variety of elements which are relevant to the comprehension of the work itself and to decisive procedures in its interpretation. The subsequent chapters are dedicated to the study of aspects which relate to the creative process, focusing on the interpreter's participation during the elaboration of the compositional process for the solo viola. In the second chapter we observe the treatment of the viola's timbristic possibilities. We then discuss the manners in which the viola's potential sound qualities have been manipulated in the past, and this enables us to establish some standards of measure which are attributed to the instrument's timbristic qualities. We subsequently verify the occurrence of these sound models and their variations in the concerto. The third chapter examines musical gesture circumscribed to the context of the path chosen for the elaboration of the compositional process for the solo viola. These concepts are then applied to specific issues in the area of performance practice, by means of a process whereby the sensations of movement and direction, combined with the stylistic characteristics described above, are delineated. In the last chapter we discuss topics related to instrumental technique. An attempt is made to reconcile aspects linked to the technical demands of the compositional process in the concerto with the stylistic attributes of the work, such as the composer's intention to purposefully write some passages in a non-idiomatic manner. Examples are listed of alterations that resulted from the dialogue between the composer and performer. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity, which one concludes is also Borges-Cunha's objective. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer's contribution to the creative process of a work / Doutorado / Mestre em Música

No abstract available. Accompanies the compositions of Thunderbird : twee bedrywe, Arabia : konsert vir klavier en orkes; Vyf miniature vir klarinet (b-mol) en kitaar; Vyf toonsettings van Afrikaanse liefdesgedigte vir sopraan en strykkwartet, DMus thesis, kept in the music Library, as well as the Special Collection Section of the Merensky Library (level 5). / Thesis (D Mus (Komposisie))--University of Pretoria, 2007. / Music / unrestricted

No description available.

This treatise aims to uncover possible reasons as to why composers rework their compositions. In attempting to answer questions regarding musical and extra-musical (referential) criteria, surrounding conditions and the role performers play in acting as conduits of the aforementioned, the study focuses on three versions of Rachmaninoff’s second Piano Sonata, opus 36. The first of these was composed in 1913, the second constitutes the composer’s revision of this work in 1931, and the third, a subsequent amalgamation of both previously mentioned versions by pianist Horowitz in 1943. The research is grounded in the theoretical ideas of organicist musical structuralism and thematic/motivic transformation (Reti), musical hermeneutics and phenomenology, musical forces (Larsen) and authenticity in musical performance (Taruskin). In addition this study explores methods of critical reading that may be used to disclose the conflicting yet complementary demands of “conciseness” and “drama” contained within the parameters of the three aforementioned versions of Rachmaninoff’s Piano Sonata Op. 36. An introductory chapter is followed by one in which a historical context provides the intertextual matrix against which the musical personae of Rachmaninoff and Horowitz, as well as the three versions of Rachmaninoff’s Piano Sonata Op. 36, may be understood. The chapter thereafter provides a concise overview of the history of musical analysis and the Tendenzwende which signified the change from a purely positivistic analytical approach to a post-modernist perspective on musical critique, against which background a motivation is provided for the analytical approaches applied in this treatise. Chapters 4 and 5 present detailed readings of the sonata from the perspective of “conciseness” and “drama” respectively. In conclusion, the final chapter reflects on findings made and conclusion drawn, with particular reference to the authenticity debate in current musicological discourse.

Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. This study will explore in some detail how Bach transforms these solo keyboard pieces into a three movement concerto for three concertino instruments and ripieno. As is the case with most of Bach's instrumental works, the question of where BWV 1044 fits within the chronology of Bach's works is unclear. This paper will attempt a reliable date of composition for this concerto by combining a variety of methods including source study and comparative formal analysis. / Arts, Faculty of / Music, School of / Graduate