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The trumpet; its use in selected works of Stravinsky, Hindemith, Shostakovich, and CoplandColeman, Jack, January 1965 (has links)
Thesis (D.M.A.)--University of Southern California. / Includes bibliographical references.
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The trumpet as a voice of Americana in the Americanist music of Gershwin, Copland, and BernsteinBekeny, Amanda Kriska, January 2005 (has links)
Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Includes bibliographical references (p. 146-152).
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O processo interpretativo na reg?ncia orquestral: um estudo a partir da obra Appalachian Spring ? Ballet for Martha (suite for 13 instruments) de Aaron CoplandTeixeira, Fellipe Rafael Carna?ba 18 December 2017 (has links)
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Previous issue date: 2017-12-18 / A presente pesquisa tem por objetivo relatar, de forma detalhada, o processo
interpretativo do regente a partir da ?tica do autor deste trabalho, utilizando como objeto de
pesquisa a obra Appalachian Spring (1944), do compositor norte-americano Aaron Copland
(1900 ? 1990). O questionamento motivador desta pesquisa ? sobre como se d? o processo
interpretativo do regente, visto que este n?o disp?e do aparato da orquestra no momento de
prepara??o da obra. O primeiro cap?tulo - a introdu??o - apresenta um estudo sobre a
interpreta??o musical de forma geral: os objetivos, a justificativa e a metodologia. No
segundo cap?tulo - desenvolvimento da pesquisa - h? tr?s pontos de estudo: um sobre a
constru??o da sonoridade orquestral por parte do regente - como se configura, os passos,
dificuldades e import?ncia desse processo para a realiza??o musical; um estudo sobre os
sil?ncios musicais e a import?ncia de sua observa??o para a interpreta??o da obra; e, por
?ltimo, a an?lise do repert?rio gestual empregado pelo regente na obra em quest?o. Ainda no
desenvolvimento, o trabalho traz o relato da experi?ncia do autor sobre como se deram seus
ensaios e sua perspectiva at? o concerto. No terceiro cap?tulo, h? a conclus?o da pesquisa. Nos
anexos, estar? presente a partitura com as marca??es de estudo do autor do trabalho. / The present research aims to report in detail the interpretive process of the conductor,
from the perspective of the author of this work, using the work Appalachian Spring (1944) by
the American composer Aaron Copland (1900 - 1990). The motivating question of this
research is about how the interpretative process of conductor takes place, since it does not
have the apparatus of the orchestra at the moment of preparation of the work. The first chapter,
the introduction, presents a general study of the musical interpretation, the objectives, the
justification and the methodology. In the second chapter, development of the research, there
are three points of study: one on the construction of orchestral sonority on the part of the
conductor, as it happens, the steps, difficulties and importance of this process for the musical
accomplishment; a study on the musical silences and the importance of their observation for
the work interpretation; and finally the analysis of the gestural repertoire used by the
conductor in the work in question. Still in the development, the work brings the report of
experience of the author on how he gave his rehearsals and his perspective until the concert.
In the third chapter there is the conclusion of the research. In the annexes will be present the
score with the markings of study of the author of the work
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Defining Musical Americanism: A Reductive Style Study of the Piano Sonatas of Samuel Barber, Elliott Carter, Aaron Copland, and Charles IvesJacklin, Brendan January 2017 (has links)
No description available.
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ETHEREAL FLUIDITY: THE LATE FLUTE WORKS OF AARON COPLANDPERLOVE, NINA MARGARET 02 July 2003 (has links)
No description available.
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An American Idea: Aaron Copland's Fanfare for the Common ManMelton, Sarah Anne 05 August 2010 (has links)
No description available.
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Aaron Copland : uma análise das tendências pandiatônicas na obra "Preamble for a Solemn Occasion" para órgãoMundstock, Jeanine Franke January 2008 (has links)
Este trabalho consiste em investigar as tendências pandiatônicas na obra "Preamble for a Solemn Occasion" para órgão (1953) de Aaron Copland (1900-1990). A análise inclui a busca pelos conteúdos intervalares mais recorrentes, a interação entre a tonalidade harmônica e a tonalidade melódica, e os centros tonais. Os referenciais teóricos utilizados foram os livros Tonality, Atonality e Pantonality de Rudolph Reti (1958), que fundamenta o conceito de pantonalidade, e Analytic Approaches to Twentieth-Century Music de Joel Lester (1989), que elucida acerca da teoria dos conjuntos. / The purpose of this research is to investigate the pandiatonic tendencies of the "Preamble for a Solemn Occasion" for organ (1953) by Aaron Copland (1900-1990). The analysis inc1udes a search for the most recurrent interval collections, the interaction between the harmonic and melodic tonalities, and the tonal centers. The theoretical framework inc1udes the works by Rudolph Reti: Tonality, Atonality e Pantonality (1958) where pantonality is defined, and Analytic Approaches to Twentieth-Century Music by Joel Lester (1989) for set theory analysis.
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Aaron Copland : uma análise das tendências pandiatônicas na obra "Preamble for a Solemn Occasion" para órgãoMundstock, Jeanine Franke January 2008 (has links)
Este trabalho consiste em investigar as tendências pandiatônicas na obra "Preamble for a Solemn Occasion" para órgão (1953) de Aaron Copland (1900-1990). A análise inclui a busca pelos conteúdos intervalares mais recorrentes, a interação entre a tonalidade harmônica e a tonalidade melódica, e os centros tonais. Os referenciais teóricos utilizados foram os livros Tonality, Atonality e Pantonality de Rudolph Reti (1958), que fundamenta o conceito de pantonalidade, e Analytic Approaches to Twentieth-Century Music de Joel Lester (1989), que elucida acerca da teoria dos conjuntos. / The purpose of this research is to investigate the pandiatonic tendencies of the "Preamble for a Solemn Occasion" for organ (1953) by Aaron Copland (1900-1990). The analysis inc1udes a search for the most recurrent interval collections, the interaction between the harmonic and melodic tonalities, and the tonal centers. The theoretical framework inc1udes the works by Rudolph Reti: Tonality, Atonality e Pantonality (1958) where pantonality is defined, and Analytic Approaches to Twentieth-Century Music by Joel Lester (1989) for set theory analysis.
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Aaron Copland : uma análise das tendências pandiatônicas na obra "Preamble for a Solemn Occasion" para órgãoMundstock, Jeanine Franke January 2008 (has links)
Este trabalho consiste em investigar as tendências pandiatônicas na obra "Preamble for a Solemn Occasion" para órgão (1953) de Aaron Copland (1900-1990). A análise inclui a busca pelos conteúdos intervalares mais recorrentes, a interação entre a tonalidade harmônica e a tonalidade melódica, e os centros tonais. Os referenciais teóricos utilizados foram os livros Tonality, Atonality e Pantonality de Rudolph Reti (1958), que fundamenta o conceito de pantonalidade, e Analytic Approaches to Twentieth-Century Music de Joel Lester (1989), que elucida acerca da teoria dos conjuntos. / The purpose of this research is to investigate the pandiatonic tendencies of the "Preamble for a Solemn Occasion" for organ (1953) by Aaron Copland (1900-1990). The analysis inc1udes a search for the most recurrent interval collections, the interaction between the harmonic and melodic tonalities, and the tonal centers. The theoretical framework inc1udes the works by Rudolph Reti: Tonality, Atonality e Pantonality (1958) where pantonality is defined, and Analytic Approaches to Twentieth-Century Music by Joel Lester (1989) for set theory analysis.
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Aaron Copland a jeho Duo pro flétnu a klavír / Aaron Copland and his Duo for Flute and PianoJarkovská, Jana January 2013 (has links)
This master´s thesis deals with the personality and works of the 20th century American composer Aaron Copland. In its first part it brings his biography together with a summary of his most important pieces. The second part of the thesis focuses on Copland?s Duo for Flute and Piano written in 1971. Besides the information about the historic context of the piece and its characteristic it contains an interpretative analysis and a parsing of the Duo?s recordings.
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