Spelling suggestions: "subject:"fugues"" "subject:"hugues""
11 |
Two music compositions.January 1995 (has links)
by Elizabeth Tsang Yu Mei. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1995. / Content / Chapter 1. --- Prelude & Fugue for Harpsichord (1995) / Chapter i) --- programme notes / Chapter ii) --- music score --- p.6 pages / Chapter 2. --- Fantasia for Organ & Orchestra (1995) / Chapter i) --- programme notes / Chapter ii) --- music score --- p.65 pages
|
12 |
THE CHORAL FUGUE: A COMPARATIVE STUDY OF STYLE AND PROCEDURE IN WORKS BY J.S. BACH AND W.A. MOZARTMcGahie, Paul Douglas 03 October 2006 (has links)
No description available.
|
13 |
An Exploration of Bartók's Fugal StyleWillett, John L. (John Lawrence) 12 1900 (has links)
Introduction -- The structure of Bartók's music: Basic tonal principles, Formal principles, Harmony -- Analysis of the Fugues: The subject, The answer, The countersubject, Overall organization of the Fugues -- Conclusion.
|
14 |
A master's recital and lecture recital / Black hostPendarvis, Vaudene Howell, Bruhns, Nicolaus, 1665-1697. Präludium und Fuge, organ, G major. January 2010 (has links)
Title from accompanying document. / Digitized by Kansas Correctional Industries
|
15 |
A structural analysis and performance guideline of Ludus tonalis by Paul Hindemith /Lee, Dong-Seom. January 1994 (has links)
Thesis (D. Mus. Arts)--University of Washington, 1994. / Vita. Includes bibliographical references (leaves [108]-110). Also available electronically.
|
16 |
Continuous Harmonic Structure in J.S. Bach's Triple Fugues in The Well-Tempered Clavier and Art of FugueHahn, Stephen (Stephen Ernst) 08 1900 (has links)
This thesis explores how the harmonic structures of J.S. Bach's triple fugues interact with their formal, contrapuntal designs. It attempts to explain how each of these elaborate fugues is supported by a single, uninterrupted structure that holds the entire work together. In Bach's fugues one generally encounters large-scale goal-directed motion towards the concluding tonic; this continuous harmonic motion towards the final tonic is consistent with the aesthetics of the Baroque style, which valorizes constant motion or dynamism.
|
17 |
Twenty-Six Two- and Three-Voiced Canons by Johann Walter Transcribed for French HornBalthrop, Sharon 05 1900 (has links)
This thesis provides modern transcriptions for horn of twenty-six two- and three-voiced canons by Johann Walter, thereby adding to the literature available from the sixteenth century for that instrument. This project specifically attempts to introduce the high school and college student hornist to modal music in strict fugal form; the transcriptions appear as an appendix. The topics discussed in the body of this thesis include the canon, Johann Walter's life and significant contributions, sixteenth-century instrumental music, musicians' guilds, the zink, and the horn. This work is not intended to offer a comprehensive history of any of these areas, but to aid the teacher and student in the preparation and performance of these transcriptions.
|
18 |
Beethoven's Choral Fugal TechniqueDoering, Harold Owen 01 1900 (has links)
It is the purpose of this thesis to offer some pertinent information in the form of a documentary symposium and analytical study in which historical and technical matters relative to Beethoven's fugal techniques in his choral compositions will be presented. References to specific musical examples in this composer's works will be illustrated by diagrammatic and verbal analyses, and correlated with the pagination of the scores of his complete works as published by Breitkopf and Hartel.
|
19 |
The keyboard ricercare in the Baroque eraDouglass, Robert S. January 1963 (has links)
Thesis (Ph. D.)--North Texas State University, 1963. / Includes bibliographical references.
|
20 |
The keyboard ricercare in the Baroque eraDouglass, Robert S. January 1963 (has links)
Thesis (Ph. D.)--North Texas State University, 1963. / Includes bibliographical references.
|
Page generated in 0.0824 seconds