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Thesis (M.A.)--Boston University

Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s in Music Degree. This document includes the historical, theoretical, performance, and rehearsal consideration of the works performed in the corresponding graduate recital. These works are Antonin Dvořák’s Serenade in D Minor, Op. 44 and Vincent Persichetti’s Symphony Number Six for Band. The analysis format for this report is based on the Blocker/Miles Unit Study technique found in the Teaching Music through Performance in Band series, as well as the Tracz concept of macro-micro score analysis. The performances of the Kansas State University Symphony Band and a chamber ensemble which consisted of faculty and Symphony Band members served as the basis for the technical, musical, and stylistic evaluations and analysis.

Warum hat Zdenek Fibich seine gesamten frühen Kirchenkompositionen vernichtet? Eine Besprechung seines (scheinbar paradoxerweise) überlieferten Weihnachtsmelodrams Stedry Den, die ich im Jahre 2000 auf der Konferenz in Prag vorgetragen habe, suchte eine Erklärung in der grundlegenden gesellschaftlichen Kontroverse der Zeit: in der Auseinandersetzung zwischen national-liberalen und christlich-konservativen Gesellschaftsgruppen.

In the 1890s, Antonin Dvořak created five symphonic poems, respectively The Water Goblin¡BThe Noon Witch¡BThe Golden Spinning Wheel¡BThe Wild Dove¡BA Hero's Song. The first four poems originated from Erben¡¦s prosody anthology, Dvořak present the personality of the roles by using Czech rhyme and characters features, and successfully promote the development of plot by adding the realism sound effects with poems content. According to the unique narrative poem, it presents the original by using succeed verse to verse faithfully. In addition to the introduction and conclusion in this study, it contains three main chapters. The Chapter 1 is discussed in detail for ¡§the creation course and nationality about Dvořak¡¨, ¡§Symphonic poem of the 19th century¡¨, ¡§narrative poem and ballade¡¨ and four symphonic poems according to Erben anthology respectively. Chapter 2 focuses on the careers and brainchild of Erben, and the writing concept about Kytice. The chapter 3 is base on the created years of the four symphonic poems to know the narratives of Dvořak by investigating the creative concept and the process of composition.

Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T04:39:34Z (GMT). No. of bitstreams: 1 Nunes_JorgeArmando_D.pdf: 40510055 bytes, checksum: 15340895ad61419f735225c78e66fc9a (MD5) Previous issue date: 2014 / Resumo: Em 1865, quando estava com 24 anos de idade, Dvorák escreveu um Concerto para Violoncelo com acompanhamento de piano que, apesar de ter recebido duas versões orquestrais posteriores à sua morte, permanece até hoje em situação de obscuridade. Escrito em uma época na qual o compositor dava seus passos iniciais na trilha que o conduziria à notoriedade internacional, se mantém até hoje à sombra do Concerto op. 104 em si menor, considerada pelos violoncelistas como a obra magna do gênero, dentro de um restrito repertório solístico existente para este instrumento. Este trabalho, através de múltiplas abordagens enfocando aspectos editoriais, históricos, analíticos e interpretativos, tem o objetivo de trazer ao conhecimento dos intérpretes e do público uma obra que, na versão de Günther Raphael, recebeu a formatação necessária para que passasse a apresentar uma organização formal digna do período de maturidade deste compositor / Abstract: In 1865, when was 24 years old, Dvorák composed a Cello Concerto with piano accompaniment that, in spite of two orchestral versions after the composer¿s death, still remains in a situation of obscurity. Written at a time wherein the composer was taking their first steps in the trail that would lead him to international notoriety, until today remains in the shadow of the Concerto in B minor, op.104, considered by the cellists such as the magnum opus of the genre for this instrument. This work, through multiples approaches focusing editorials, historical, analytical and interpretative aspects, has the purpose of bring to the attention of the interpreters and public a work that, in Raphael¿s version, received the necessary formatting to presents a formal organization worthy of the maturity period of the composer / Doutorado / Praticas Interpretativas / Doutor em Música

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This diploma thesis deals with Moravian Duets op. 32 written by Antonín Dvořák. Including comparsion of manuscript and contemporary edition of notation and comprehensive chapter which analyse recordings of this piece. Recordings are from different types of choirs. They are represented by children's choirs, women choirs and by female component of mixed choirs. Next chapters focus on analysis of each duet from perspective of interpretation, draw attention to difficult parts and gives recommendations for the interpretation. The analysis is mainly focused on the difficulty of interpretation in terms of vocal technique. The final chapter describes vocal exercises and recommendations for easier practicing and more convincing interpretation of this piece.