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The Global ETD Search service is a free service for researchers
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Showing 1 to 7 of 7 (0.063 seconds)Spelling suggestions: "subject:"composerperformer"" "subject:"poetaperformer""
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Composer/Performer Collaboration as Seen in the Solo Piano Part of Percy Grainger's Edition of the Edvard Grieg Piano Concerto in A Minor Opus 16Lee, Sungyo 05 1900 (has links)
The purpose of this document is threefold. First, it demonstrates what Grieg contributes to the musical text compared with the original Peters edition, particularly, those additions that refer to expression, interpretation, and style. Second, this document focuses on presenting Grainger's changes that were approved by Grieg. Third, the document evaluates Grainger's own suggestions for pedaling, hand redistribution and fingering, addition of notes, tempo markings, and other performance guidelines.
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A colaboração compositor-intérprete na construção de uma interpretação para a peça Round about Debussy de Flávio OliveiraRamos, Pamela Daiany dos Santos January 2013 (has links)
Este trabalho concentra-se na colaboração com o compositor Flávio Oliveira durante o processo de construção de uma interpretação para Round about Debussy. A autora discute os limites da notação musical no contexto do estilo do compositor, focalizando os elementos estilísticos que escapam a notação musical. Apoiada por material documentado em áudio/vídeo coletados nos encontros com o compositor, bem como uma entrevista semiestruturada com Oliveira, a autora apresenta e discute exemplos à luz das observações e sugestões feitas pelo compositor. / This dissertation focuses on the collaboration with composer Flávio Oliveira during the process of constructing an interpretation for Round about Debussy. The author discusses the limits of musical notation in the context of the composer’s style, focusing on the stylistic elements that escape notation. Supported by material documented in audio/video collected in the encounters with the composer, as well as a semi-structured interview with Oliveira, the author presents and discusses examples in light of the comments and suggestions made by the composer.
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The Flutist as Co-creator: Composer-performer Collaborations in the Flute Music of HungaryBudai, Izabella Bernadet 20 March 2014 (has links)
The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation.
Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music.
Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.
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The Flutist as Co-creator: Composer-performer Collaborations in the Flute Music of HungaryBudai, Izabella Bernadet 20 March 2014 (has links)
The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation.
Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music.
Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.
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A colaboração compositor-intérprete na construção de uma interpretação para a peça Round about Debussy de Flávio OliveiraRamos, Pamela Daiany dos Santos January 2013 (has links)
Este trabalho concentra-se na colaboração com o compositor Flávio Oliveira durante o processo de construção de uma interpretação para Round about Debussy. A autora discute os limites da notação musical no contexto do estilo do compositor, focalizando os elementos estilísticos que escapam a notação musical. Apoiada por material documentado em áudio/vídeo coletados nos encontros com o compositor, bem como uma entrevista semiestruturada com Oliveira, a autora apresenta e discute exemplos à luz das observações e sugestões feitas pelo compositor. / This dissertation focuses on the collaboration with composer Flávio Oliveira during the process of constructing an interpretation for Round about Debussy. The author discusses the limits of musical notation in the context of the composer’s style, focusing on the stylistic elements that escape notation. Supported by material documented in audio/video collected in the encounters with the composer, as well as a semi-structured interview with Oliveira, the author presents and discusses examples in light of the comments and suggestions made by the composer.
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A colaboração compositor-intérprete na construção de uma interpretação para a peça Round about Debussy de Flávio OliveiraRamos, Pamela Daiany dos Santos January 2013 (has links)
Este trabalho concentra-se na colaboração com o compositor Flávio Oliveira durante o processo de construção de uma interpretação para Round about Debussy. A autora discute os limites da notação musical no contexto do estilo do compositor, focalizando os elementos estilísticos que escapam a notação musical. Apoiada por material documentado em áudio/vídeo coletados nos encontros com o compositor, bem como uma entrevista semiestruturada com Oliveira, a autora apresenta e discute exemplos à luz das observações e sugestões feitas pelo compositor. / This dissertation focuses on the collaboration with composer Flávio Oliveira during the process of constructing an interpretation for Round about Debussy. The author discusses the limits of musical notation in the context of the composer’s style, focusing on the stylistic elements that escape notation. Supported by material documented in audio/video collected in the encounters with the composer, as well as a semi-structured interview with Oliveira, the author presents and discusses examples in light of the comments and suggestions made by the composer.
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EchtzeitmusikBlazanovic, Marta 03 June 2014 (has links)
Die Echtzeitmusikszene ist eine zeitgenössische Musikszene, die Mitte der 1990er in Berlin entstanden ist. Seitdem entwickelte sie sich in eine umfangreiche, musikalisch vielfältige, lokale, aber auch extrem internationale Musiker-Community, mit dem Schwerpunkt auf improvisierter und experimenteller Musik. Der Begriff ‚Echtzeitmusik‘ markierte zunächst die Abgrenzung der jungen von der älteren Generation der Berliner Improvisatoren. Die jüngeren Musiker entwickelten bald eine besondere Klangästhetik sowie die Praxis des Improvisierens, was oft als ‚Berlin Reductionism‘ bezeichnet wird. Sich selbst identifizierten sie vor allem mit dem Begriff ‚Composer-Performer‘. Die musikalischen Entwicklungen in der Echtzeitmusik Szene lassen sich innerhalb der Traditionen der Freien Improvisation einerseits und der Cageschen Kompositionstheorie andererseits kontextualisieren. Ausserdem wurden die Entstehung der Szene, ihre Entwicklung und Existenz stark von den einzigartigen räumlichen, sozialen und ökonomischen Bedingungen in Berlin nach der Wende beeinflusst und bestimmt. Die Echtzeitmusik Szene ist ein Beispiel für ein hoch autonomes Feld der Kulturproduktion, in dem das sogenannte symbolische Kapital (Reputation) die wichtigste Kapitalart und ein Machtmittel darstellt. Die Verteilung des symbolischen Kapitals in der Szene manifestiert sich in einer auf den ersten Blick versteckten Hierarchie. Die Mitglieder der Szene teilen eine gemeinsame symbolische Ebene und nehmen an einem klar strukturierten und organisierten Szeneleben teil. Sowohl soziale als auch musikalische Handlungen der Szeneakteure zeigen gewisse Gemeinsamkeiten und Regularitäten, die mit Bourdieu’s Habitus-Begriff erklärt werden. Der Szenediskurs spielt eine wichtige Rolle in den Prozessen der Identifikation, Distinktion und Gemeinschaftsbildung, als auch in der Regulierung der Praxis in der Szene dadurch, dass es als ein Orientierungspunkt für die Insider, aber auch für die Aussenstehenden dient. / The Echtzeitmusik scene is a contemporary music scene that emerged in Berlin in the mid-1990s and evolved into an extensive and musically diverse local, yet extremely international community of musicians, who are involved in improvised and experimental music. The term ‘Echtzeitmusik’, literally meaning ‘real-time music’, marked the distinction between the younger and older generation of Berlin improvisers. The younger musicians had soon developed a specific sound aesthetic and approach to improvising, often labeled as ‘Berlin Reductionism’, and identified themselves as ‘composer-performers’. The musical developments in the Echtzeitmusik scene can be contextualized within the traditions of both Free Improvisation and John Cage’s compositional theory; on the other hand, the scene’s emergence, development and existence have been strongly influenced by the unique spatial, social and economic context of the post-wall Berlin from the early 1990s until today. The Echtzeitmusik scene is an example of a highly autonomous field of cultural production, in which the most important type of capital and means of “power” is the so-called symbolic capital (reputation), based on the musicians’ cultural capital (e.g. musical skill and individuality) and even more on their social capital (social relations). The distribution of symbolic capital within the scene is manifested in its, at first sight hidden, hierarchy. The members of the scene share a common symbolic level and take part in a clearly structured and organized scene-life. Both social and musical actions of the scene’s members show commonalities and regularities, which are explained by Bourdieu’s concept of habitus. The scene’s discourse plays an essential role in the processes of identification, distinction and community-making, as well as regulating the practice within the scene, by serving as a point of orientation on the inside and towards the outside.
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