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Toward Impressionism the ḿelodies of Emmanuel Chabrier /Wallner, Melissa Kay. January 1900 (has links)
Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on Feb. 22, 2007). PDF text: vi, 178 p. UMI publication number: AAT 3216430. Includes bibliographical references. Also available in paper, microfilm and microfiche format.
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Studien zur Harmonik des musikalischen ImpressionismusWartisch, Otto. January 1930 (has links)
Thesis--Erlangen. / Vita. "Literaturverzeichnis": p. 4-6.
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Impressionism evolution of the technique in Claude Debussy /Rosenthal, Natalie Jean. January 1943 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1943. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 110-112).
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Romantic and impressionist style in the harp repertoire of Marcel TournierDentith, Jo Lynn. Youmans, Charles Dowell, January 2008 (has links)
Thesis (M.A.)--Pennsylvania State University, 2008. / Mode of access: World Wide Web. Thesis advisor: Charles Youmans.
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Analytical approaches to three of Debussy's preludes for pianoKiatvongcharoen, Usa. January 1998 (has links)
published_or_final_version / Music / Master / Master of Philosophy
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Analytical approaches to three of Debussy's preludes for piano /Kiatvongcharoen, Usa. January 1998 (has links)
Thesis (M. Phil.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 94-98).
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Impressionism in French piano musicSmith, Virginia Gayle, 1926- January 1948 (has links)
No description available.
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Do You Know the Storm?: The Forgotten Lieder of Franz SchrekerWallace, Alicia 05 1900 (has links)
Franz Schreker (1878-1934) was a Jewish-Austrian composer of great success during the first decades of the twentieth century. Schreker’s reputation diminished after 1933 when Hitler came to power and, in 1938, his compositions were labeled Entartete Musik (“degenerate music”) by the Nazis in a public display in Düsseldorf. The Third Reich and post-war Germany saw Schreker as a decadent outcast, misunderstanding his unique style that combined elements of romanticism, expressionism, impressionism, symbolism, and atonality. This study of Schreker’s Lieder will pursue two goals. First, it will analyze the Mutterlieder (before 1898), the Fünf Gesänge (1909), and the first piece from Vom ewigen Leben (1923) stylistically. Schreker composed nearly four dozen Lieder, incorporating a wide range of styles and ideas. By studying and performing these songs written at various points in his career (including early songs, songs written after he met Schoenberg, and his last songs during the height of his fame), I hope to develop a clearer understanding of how Schreker synthesized the many cultural forces and artistic movements that seem to have influenced his compositional style. Second, this study will consider the sociopolitical circumstances that fueled the disintegration of his reputation. This disintegration occurred not just during the Third Reich, but also afterwards, notably in an often discussed essay by Theodor Adorno. Only in the last thirty years have scholarly voices critical of such rejections of Schreker emerged. My ultimate goal, then, is to join this reevaluation, studying and contextualizing this repertory to develop a new understanding of an oft-neglected chapter in the history of the German Lied.
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