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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
101

Six French composers’ homage to Haydn : an analytical comparison enlightening their conception of tombeau

Soucy, Jean-Philippe January 2009 (has links)
No description available.
102

Haydn's early symphonic development sections and eighteenth-century theories of modulation

Keuchguerian, Anait. January 1998 (has links)
No description available.
103

L’entrée du soliste dans les concertos de 1750 à 1810, à travers les œuvres de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven / The Entry of the Soloist in the Concerto between 1750 and 1810, Through the Works of Johann Christian Bach, Haydn, Mozart, Viotti & Beethoven

Lachat Sarrete, Priscille 26 February 2010 (has links)
Entre 1750 et 1810, l’entrée du soliste dans les premiers mouvements de concerto est un événement théâtral et musical. Examinant le corpus de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven, cette thèse distingue les stratégies compositionnelles récurrentes, constituant la norme de l’époque étudiée. Elle analyse les procédés rhétoriques à l’œuvre en évaluant l’effet produit par chacun par rapport à la norme attendue.La première partie concerne la construction de l’attente du soliste. Elle évalue la fonction introductive du premier tutti, distinguant les « tuttis-cadre » des « tuttis-narratifs » et examinant l’impact de la présence d’une modulation. La deuxième partie étudie les stratégies de clôture de l’exposition orchestrale et l’existence d’une rupture lors de l’entrée du soliste. La troisième partie montre la manière de donner la parole au soliste par le choix de son thème d’entrée, d’une ornementation éventuelle ou l’ajout d’une section introductive virtuose autonome. / Between 1750 and 1810, the entry of the soloist in the first movement of a concerto is a musical and theatrical event. Going through the corpus of Johann Christian Bach, Haydn, Mozart, Beethoven, and Viotti, this thesis distinguishes personal strategies from recurring compositional techniques that are standard in the period under review. It analyzes the rhetorical techniques used through assessing the effect of each technique compared to that of the expected standard.The first part concerns the construction of the expectation of the soloist. It evaluates the introductive function of the first tutti, creating a disctinction between “frame-tuttis” and “narrative tuttis”, and examinating the impact of the presence of a modulation. The second part focusses on the closing strategies of the orchestral exposition and the existence of a break for the soloist’s entry. The third part shows the hand over to the soloist through the choice of the entry theme, the eventual ornementation, and the adding of an autonomous virtuoso introductive section.
104

The Relationship Between Lowell Mason and the Boston Handel and Haydn Society, 1815-1827

Jones, Todd R. 01 January 2017 (has links)
The relationship between Lowell Mason (1792–1872) and the Boston Handel and Haydn Society (est. 1815) has long been recognized as a crucial development in the history of American music. In 1821, Mason and the HHS contracted to publish a collection of church music that Mason had edited. While living in Savannah, GA, Mason had imported several recent British collections that adapted for church tunes works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Ignaz Pleyel. His study with German émigré Frederick L. Abel allowed him to harmonize older tunes in standard counterpoint. In the historiography of American music, the collection has ever since been named as one of the chief forces establishing standard counterpoint in the mainstream of American music. The collection’s profits also helped the HHS survive the next several years, and the prestige of eventually being known as the collection’s editor helped launch Mason’s influential career in church music, music education, and music publishing. In 1827, that career took a dramatic turn when Mason returned to Boston to assume the presidency of the HHS and the care of music in several churches. This project shows that the social ties between Mason and the HHS begin earlier and are far more indebted to Calvinist orthodox Christianity than previous studies have shown. With special attention to Mason’s personal papers housed at Yale University, to the HHS records held at the Boston Public Library, and to newly indexed Savannah newspapers, it shows that Mason’s relationship with the Society grew from relationships begun before he left his native Massachusetts in 1812. The depth of the relationship grew steadily until 1827, marked at first by indirect contact and in 1821 by Mason’s trip to Boston. Mason’s 1827 return to Boston, often surprising to scholars, appears here as a logical consequence of the support given by the Society’s previous president, Amasa Winchester, for Mason’s work in church music. Mason’s departure from the Society seems to be based on his zeal, closely related to his evangelical goals, for universal music education.
105

Through nature to eternity a work for wind ensemble, and A quantitative study of chromaticism : changes observed in historical eras and individual composers /

Perttu, Daniel Erkki Hiram, January 2007 (has links)
Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 64-65).
106

A collection of cadenzas for the trumpet concertos of Franz Joseph Haydn and Johann Nepomuk Hummel

Harris, Kristine Lynn January 1999 (has links)
The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences. / School of Music
107

Contributions to the development of the piano sonata : the sonatas of Joseph Haydn, with special reference to their historic position and to the influence of German, Austrian and Italian elements on their form and style

Heuschneider, Karin January 1970 (has links)
This thesis, which is intended for inclusion in "The Piano Sonatas of the 18th century in Austria" (Vol.3 in the publication series "Contributions the the development of the Piano Sonata") aims to evaluate Haydn's position within the history of the piano sonata. In spite of the widespread popularity of Haydn's sonatas among professional musicians and amateurs, surprisingly little has yet been published regarding the compositional aspects of these works. The main contributions of musicological value were written by Hermann Abert, Karl Geiringer, Walter Georgii and William S.Newman. The recent studies, published as Vol.l and Vol.2 in the above mentioned series, made it possible to trace in much greater detail the various formative factors that influenced the form and style of Haydn's piano sonatas. Moreover, it proved the composer's personal merits not only in the development of this specific genre but also in the creation of 'The International Viennese Language of the High-Classical Period'. The newly gained insight, in turn, should lead to an even higher appreciation of the great master, who utilized the achievements of his predecessors and contemporaries in an original and individual manner and thereby gained a position far superior to that of many other composers.
108

Passagen: Theorien des Übergangs in Musik und anderen Kunstformen

Utz, Christian, Zenck, Martin 09 May 2023 (has links)
Der dritte Band der musik.theorien der gegenwart widmet sich einer multiperspektivischen Annäherung an das Thema »Passage«. Dabei wird von einem grundsätzlichen Übergangscharakter musikalischer Zeitgestalten ausgegangen, der eine Teilung in substantielle strukturelle Pole und »überleitende« Abschnitte – wie sie durch herkömmliche Topoi der Formenlehre vermittelt wird – problematisch erscheinen lässt. Ansätze, die mit »Passagen« der musikalischen Struktur ein mithin langezeit marginalisiertes Phänomen vom Rand ins Zentrum der Betrachtung rücken, erzeugen einen Konflikt mit herkömmlichen Lesarten und treffen sich mit vergleichbaren Ansätzen in der musikalischen Historiographie, der Literatur-, Kunst- und Filmtheorie. Der Band verbindet vier Beiträge, die anlässlich des Internationalen Kongresses der IMS (International Musicological Society) 2007 entstanden, mit fünf speziell für diese Publikation verfassten Texten. Dabei reicht das Spektrum von einer umfassenden kulturwissenschaftlichen Theorie der Passage und dem Entwurf einer post­strukturellen Historiographie zur »Kunst des Übergangs« bei Liszt und Wagner und zu räumlichen wie zeitlichen Passagen im Film. Aus – im engeren Sinn – musiktheoretischer Sicht werden eine Systematik der Sequenz (als prototypische Technik des Übergangs) entwickelt und ein »dezentristischer« Blick auf die »Überleitung« im klassischen Stil geworfen. Untersuchungen zur Werkgenese und ästhetischen Relevanz des »Passagenwerks« bei Mendelssohn Bartholdy und Conlon Nancarrow sowie ein analytisch-systematischen Beitrag zu inter­kulturellen Passagen zwischen Sprechstimme und Gesang in traditioneller und neuer Vokalmusik komplettieren das breite Feld an untersuchten »Passagen«.
109

La Asimilación del “Estilo de Haydn” en la transición del Perú Virreinal a la República: La Vigilia de difuntos Nº 2 de Fray Cipriano Aguilar

Vega Zavala, César Humberto 06 October 2020 (has links)
Lo que se conoce acerca de fray Cipriano Aguilar, perteneciente a la Orden de Ermitaños de San Agustín, son algunos datos sobre su vida que constan en los documentos de la orden religiosa a la que perteneció y que aparecieron luego en dos publicaciones de carácter documental. Además, se sabe que participó en el concurso para la elección del Himno Nacional y que José Bernardo Alzedo lo reconoce, en el prologo de su libro Filosofía Elemental de la Música, como su maestro de música durante su infancia. El presente trabajo pretende mostrar evidencias de que fray Cipriano Aguilar, maestro de Capilla del Convento de San Agustín, está empleando la estética de Franz Joseph Haydn para la composición de música litúrgica, dentro del periodo de transición entre el virreinato del Perú y la República. Esto significaría que el estilo clásico austro/alemán fue asimilado en el Perú al igual como lo fue en Cuba, Venezuela y México / Tesis
110

Vers une typologie du premier mouvement de sonate chez Joseph Haydn (1732-1809) : une analyse des 52 premiers mouvements Hob. XVI

Larouche, Sarah-Ann 09 1900 (has links)
Bien qu’une vaste littérature musicologique porte sur Joseph Haydn (1732-1809), aucune ne comprend une étude exhaustive de l’ensemble de ses sonates pour clavier, incluant les premières oeuvres composées dans la décennie 1750. La présente recherche se propose de combler en partie cette lacune par le biais d’une analyse des 52 premiers mouvements Hoboken (Hob.) XVI. Basée sur des outils empruntés principalement à William E. Caplin, Brian Alegant et Don McLean, cette étude constitue un premier pas vers une typologie du premier mouvement de sonate chez Haydn, permettant par le fait même de refléter l’évolution de la forme sonate, en mutation tout au long de la vie créative du compositeur. Dans un premier temps, une série d’analyse capliniennes permet d’effectuer un survol des différentes formes qui composent le corpus à l’étude afin d’en dégager certains procédés spécifiques, nommément l’exploitation de techniques formelles à des fins de développement thématique, ainsi que l’emploi marqué d’ambiguïtés formelles et fonctionnelles. Dans un second temps, une analyse de la disposition du matériau suggère une conception du premier mouvement en forme sonate basée sur le développement thématique d’un nombre réduit d’idées musicales, dont la répétition est compensée par plusieurs procédés dont les principaux sont la variation structurelle dans la section de réexposition et l’emploi de différentes fonctions formelles à chaque itération. Prises dans leur ensemble, ces analyses démontrent que l’ensemble des premiers mouvements de sonate pour clavier Hob. XVI sont liées par une certaine imprévisibilité créée spécifiquement au moyen de la réutilisation thématique et des fonctions formelles. / Although there is a vast musicological literature on Joseph Haydn (1732-1809), none includes an exhaustive study of all his keyboard sonatas, including the first works composed in the 1750s. The present research aims to fill this gap through an analysis of the 52 first movements of the keyboard sonatas Hoboken (Hob.) XVI. This study constitutes a first step towards a typology of Haydn’s sonata first movement, thereby making it possible to look at the evolution of the sonata form, under development throughout the composer's creative life. Initially, a first series of Caplinian analysis allows an overview of the different forms that make up the corpus under study in order to identify certain specific procedures, namely the use of formal techniques for thematic development purposes as well as the marked use of formal and functional ambiguities. Secondly, an analysis of the arrangement of the material suggests the conception of the sonata form’s first movement to be based on the thematic development of a reduced number of ideas, the repetition of which is compensated for by several processes, the main ones of which are structural variation in the recapitulation section as well as the use of various formal functions for each iteration. Taken as a whole, these analysis show that the 52 first movements Hob. XVI are linked by the expression of a certain unpredictability caused specifically by thematic restatement and the use of various formal functions.

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