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Concerto for Piano and Orchestra: Homage to W. A MozartWaseen, Symeon L. 23 August 2005 (has links)
No description available.
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Birds, Birds, BluebirdsYoon, Hye Jung January 2017 (has links)
No description available.
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Corners of the SkyHarrison, Laura 12 December 2017 (has links)
No description available.
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Structure and Meaning in Schnittke Analysis: Oppositional Functions in the Viola ConcertoEmerson, Christa Marie 06 November 2009 (has links)
No description available.
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A study of Unsuk Chin's Piano Concerto: The influence of Gyorgy Ligeti's Piano ConcertoKim, Eunhee 16 September 2016 (has links)
No description available.
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Information and imagination as sources of interpretation : the performer's procedures applied to Telemann's Viola Concerto in G MajorDeBolt, Katharine Gerson January 1965 (has links)
No description available.
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Dmitri Shostkovich's Piano Concerto Op. 35: A Pianist's Guide For PerformanceLee, Jung-Hwa January 2008 (has links)
No description available.
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Writing styles and Performance guidelines of Carl Vine’s Piano Concerto No. 1Park, Ji Young 19 July 2012 (has links)
No description available.
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Elements of Symmetry and Flamenco Tradition in Loris O. Chobanian's "Concerto del Fuego"Andrews, Robert James January 2011 (has links)
Despite an international interest in flamenco music, there has not been much analytical work on the genre. In fact, flamenco music has only recently started to be notated, let alone be analyzed by music theorists. Due to its multi-cultural influence, flamenco music incorporates characteristics and trends from both Eastern and Western societies. Although its melodies are fundamentally derived from the Phrygian mode, the flamenco style includes alterations that create symmetrical pitch collections. In Concerto del Fuego, composer Loris O. Chobanian expands upon the Eastern and Western traditions by writing a twentieth-century concert piece that combines the flamenco harmonic and melodic language within a concert setting. The purpose of this document is to demonstrate how Loris O. Chobanian successfully exploits symmetrical collections that are inherent in traditional flamenco scales and cadences to create a concert piece.
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Do intimismo à Grandiloqüência (Trajetória e estética do concerto para violão e orquestra: das raízes até a primeira metade do século XX em torno de Segovia e Heitor Villa Lobos) / Do intimismo à Grandiloqüência (Trajetória e estética do concerto para violão e orquestra: das raízes até a primeira metade do século XX em torno de Segovia e Heitor Villa Lobos)Almeida, Renato da Silva 17 August 2006 (has links)
O presente trabalho constitui-se numa pequena colaboração para o estabelecimento de um panorama dos Concertos para Violão e Orquestra. Desde suas primeiras obras no século XIX até a primeira metade do século XX. Buscamos identificar nessa exposição, personagens, fatos e eventos de fundamental relevância para o desenvolvimento do gênero e uma análise do Concerto para Violão e Pequena Orquestra de Heitor Villa-Lobos. / This work is a small collaboration to establish a panorama of Guitar Concertos since the initial works of the 19th century until the works of the first half of the 20th century. In this exposition, we focused on identifying characters, facts and events of fundamental relevance to the development of the genre. Especially, we developed a detailed analysis of the Concerto para Violão e Pequena Orquestra by Heitor Villa-Lobos.
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