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The Global ETD Search service is a free service for researchers
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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.
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Showing 1 to 9 of 9 (0.033 seconds)Spelling suggestions: "subject:"johann mattheson"" "subject:"johann attheson""
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Johann Mattheson, spectator in music,Cannon, Beekman C. January 1947 (has links)
Thesis (Ph. D.)--Yale University, 1939. / "Critical bibliography": p. [146]-217. Bibliography: p. [227]-231.
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Johann Mattheson, Texte aus dem Nachlass. Hg. von Wolfgang Hirschmann und Bernhard Jahn unter Mitarbeit von Hansjörg Drauschke, Karsten Mackensen, Jürgen Neubacher, Thomas Rahn, Dirk Rose und Dominik Stoltz. Olms, Hildesheim ‐ Zürich ‐ New York 2014. Wolfgang Hirschmann/Bernhard Jahn (Hgg.), Johann Mattheson als Vermittler und Initiator. Wissenstransfer und die Etablierung neuer Diskurse in der ersten Hälfte des 18. Jahrhunderts. Olms, Hildesheim ‐ Zürich ‐ New York 2010 (Rezension)Ammon, Frieder von 08 August 2018 (has links)
Rezensionen zu Johann Mattheson, Texte aus dem Nachlass. Hg. von Wolfgang Hirschmann
und Bernhard Jahn unter Mitarbeit von Hansjörg Drauschke, Karsten Mackensen, Jürgen Neubacher, Thomas Rahn,
Dirk Rose und Dominik Stoltz. Olms, Hildesheim – Zürich – New York 2014. 706 S., € 98,–.
Wolfgang Hirschmann/Bernhard Jahn (Hgg.), Johann Mattheson als Vermittler und
Initiator. Wissenstransfer und die Etablierung neuer Diskurse in der ersten Hälfte
des 18. Jahrhunderts. Olms, Hildesheim – Zürich – New York 2010. 514 S., € 68,–.
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Die antiken Versfüße, ihre Problematik und Überliefung bei Johann MatthesonNehrling, Hans 08 January 2020 (has links)
No description available.
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Johann Mattheson und die Musiktheorie des 17. JahrhundertsBraun, Werner 13 January 2020 (has links)
No description available.
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Mattheson und die RhetorikFeldmann, Fritz 03 February 2020 (has links)
No description available.
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Johann Mattheson, Johann Adolph Scheibe, and Modern German MusicologyHarriss, Ernest 07 February 2020 (has links)
No description available.
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Psophos, Sonus, and Klang: Towards a Genealogy of Sound TerminologyChristensen, Thomas 12 October 2023 (has links)
As we think about sound and its many competing meanings and uses for musicians over the past hundred years, it is worth keeping in mind that defining sound was also a contentious problem in earlier times. Indeed, since the ancient Greeks first invoked the term psophos as a general concept for sound, there has been a persistent question of how to draw boundaries between musical sounds (covered by such sub-terms as phthongos and phoné) and more general notions of noise (klázō). The Latin term sonus was perhaps even more confusing in this regard, with a numbing variety of meanings and applications that cannot be easily reconciled. Still, one persistent demarcation that we can find in the history of the term’s usage is that between sound as an acoustical (»external«) object, and sound as a perceptible (»internal«) phenomenon. Each of these usages implies a distinctly differing aesthetic stance towards sound that has telling resonance for compositional and analytical issues that are still very much alive today. Indeed, an acoustical turn in the seventeenth and eighteenth centuries prompted music theorists to confront the perception of musical sounds more thoroughly than before as exemplified by Johann Mattheson’s little known treatise Versuch einer systematischen Klang-Lehre (1748).
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Johann Sebastian Bach's Partita for Solo Flute, BWV 1013 Transcribed and Arranged for Guitar: A Musico-Rhetorical Performance GuideBurns, Bryan Keith 08 1900 (has links)
The main purpose of this dissertation is to offer classical guitarists an additional analytical technique for interpreting and performing the music of Johann Sebastian Bach. While this mode of analysis can be successfully applied to any of the instrumental works by Bach frequently transcribed and performed by guitarists, I have chosen for this study my recent transcription of the Partita in A minor for solo flute traverso, BWV 1013. With a continuo-based, harmonic realization of the Partita, I contribute to the existing guitar repertoire by offering a new transcription of this work, while demonstrating how historical concepts of rhetorical structure and aesthetics found in relevant primary source material can inspire a new approach to analysis, transcription, and performance practice. In this way, my investigations create additional perspectives for classical guitarists regarding the analysis and performance of this work, while complementing traditional harmonic analysis and subject labeling. Although it is my hope that this new transcription of the Partita will serve as an important contribution to the existing literature, the main purpose of this dissertation resides in the musico-rhetorical analytical technique and its implications on performance practice for classical guitarists.
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Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian OperasTsai, Meng-Jung 08 1900 (has links)
This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.
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