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Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 silmara.pdf: 101194 bytes, checksum: d5f81a62d62bc6b4572adfeb96105296 (MD5) Previous issue date: 2008-09-18 / The perspective adopted in this research, tells about the most general interartistics relations, and specially, the relations between music and image, sound and visual through movie productions. First, the fictionalized historical biography, permits the following of cliché of correlations between sound and image. Second, the cinematography offers other potentialities, as the film as creation of world, in a strong rupture with the traditional audiovisual articulation. In this biography, investigates the art conception that is in Wagner s Work, and especially we ll see a bibliographic theme of a full art [Gesamtkunstwerk]. In this domain, has an approach comprehension of romantic roots as well a reintegration of thinking around classics the heritage ideas of Greece in XIX. We search, demonstrate an importance and representativeness of Richard Wagner in German Romancism and the present interartistic relation between sound and image in Wagner s Work. / A perspectiva adotada nesta pesquisa diz respeito ao campo mais geral das relações interartísticas e, mais especialmente, das relações entre música e imagem (na formação do audiovisual), sonoridade e visualidade, audível e visível através de produções fílmicas. No primeiro deles, a biografia histórica ficcionalizada (a biografia em filme) permite o acompanhamento de certos clichês de correlações entre som e imagem. No segundo, a cinematografia oferece outras potencialidades, no pensamento do filme como criação de um mundo, numa ruptura decisiva com a articulação tradicional música-imagem, traçados agora como alvo de uma conjugação-intervalo denominável de audiovisual. A partir desta biografia, investiga-se a concepção de arte que circula na obra de Wagner e, mais especialmente, trataremos de uma revisão bibliográfica do tema da obra de arte total [Gesamtkunstwerk]. Neste domínio cabe, portanto, uma aproximação-compreensão das raízes românticas bem como da reintegração do pensamento acerca do clássico a idéia de heranças da Grécia no XIX. Busca-se assim demonstrar a importância e representatividade de Richard Wagner no Romantismo Alemão e a presente relação interartística entre o som e a imagem na obra wagneriana.

Mykola Lysenko, der Gründer der ukrainischen Komponistenschule, ist bis zum heutigen Tag in Europa fast unbekannt geblieben. Diese Tatsache hat vor allem geschichtlich-politische Gründe. Aus Anlass von Mykola Lysenkos 160. Geburtstag, der 2002 durch die ukrainische Musikgemeinschaft feierlich begangen worden ist, ist das Ziel meines Beitrags, seine Person im Hinblick auf sein kompositorisches Schaffen darzustellen.

The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation. Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music. Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.

The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation. Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music. Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.

A collection of music created mainly in the second half of the 18th century and the first half of the 19th century was found at the choir loft of the Cathedral of St Nicholas in Budweis. Jáchym Štěpánovský and J. N. Vocet were two local composers and choir administrators who primarily helped to create this music collection. Jan Nepomuk Vocet who used to work at the choir of St Nicholas Cathedral was a significant person. He belongs to a lesser - known group of composers at the turn of the period of Classicism and Romanticism and that's why I chose him as the main topic of my diploma theses. The aim of this work is to evaluate Vocet's influence in Budweis music scene, to give an idea of his church music, popularize the chosen pieces of his music in edition and analyse it in detail.

The author of this thesis endeavours to create a comprehensive portrait of Hanuš Bartoň, a Czech contemporary composer, pianist, and academic educator. The thesis is focused on his compositions and his contribution as a pianist and a teacher with the aim to establish a practical source of information. This source ought to fulfil both its musicological potential, especially concerning the analysis of Czech classical music of the end of the 20th century up till now, as well as its potential in the field of education, noting Bartoň's works for children and his academic pedagogical contribution. The thesis is systematically organised into several parts. The main body starts with the composer's biography. The attention then moves to his compositions, which are systematically presented and commented on from the perspective of Bartoň's musical style development and its tendencies. His works adhere to the postmodern ideal considering the fact that the music deals in a specific way with the synthesis of stylistic elements. The scope of his oeuvre is relatively wide. It mostly encompasses instrumental pieces, although there are many others including, for example, musical-dramatic works, vocal pieces, electroacoustic music, and music for the theatre. The individual compositions and their performances are...

Les technologies ont façonné et façonnent les méthodes de travail des compositeurs de musique à l’image : en termes de communications, de méthodologie et au niveau des compétences requises. De La Planète Interdite au Covid-19, nous examinerons comment les méthodologies de travail des compositeurs de musique à l’image ont changé au fil des ans. / Technologies have shaped, and still do so, the way music composers for screen work: communication-wise, in their creative workflow and in their skill sets. From Forbidden Planet to Covid-19, we will examine how and in what way the workflows of music composers have changed throughout the years.