Orientador: Aci Taveira Meyer / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T19:46:18Z (GMT). No. of bitstreams: 1 Yansen_CarlosAlbertoSilva_D.pdf: 9019012 bytes, checksum: fc908c58d267fc30aab80a2e1038a796 (MD5) Previous issue date: 2010 / Resumo: Neste trabalho buscou-se a identificação do material composicional como ponto de partida para uma interpretação. Contém ainda sugestões para a resolução de possíveis problemas técnicos e interpretativos relacionados ao Concerto Fribourgeois do compositor Almeida Prado. Justifica-se por contribuir para a arte da interpretação. Para tanto, foi necessário uma breve explanação sobre o Concerto, bem como um breve resumo histórico sobre os títulos dos movimentos. Em seguida, foi feita a identificação do material, sendo ressaltadas características relevantes, relacionadas à textura, ao tempo e à rítmica, à dinâmica, ao timbre, às ressonâncias e à forma, com ênfase no uso do material encontrado. Seguidamente, foi feito um levantamento sobre as dificuldades técnicas da obra e sugestões de solução que possivelmente interfiram na concepção interpretativa da peça. A conclusão traz possíveis interações entre os dados levantados, identifica elementos unificadores e elabora considerações acerca da estrutura da obra, formulando assim a base para uma interpretação. O trabalho ainda possui a obra toda digitalizada e em um de seus anexos, uma redução da grade de orquestra para um segundo piano / Abstract: In this study we sought to identify the compositional material as a starting point for an interpretation. It also contains suggestions for solving possible technical and interpretative problems related to the Fribourgeois Concert by the composer Almeida Prado. Its merit lies in that it contributes to performance. T35 herefore, a short explanation about the concert was necessary which is, in itself, a historic summary of the movement titles. Incluided also is identification of the material of the above mentioned piece highlighting relevant characteristics related to texture, tempo and rythym, dynamics, tone, ressonance and form with enphasis on the material found. Subsequently, a survey of on the technical difficulties of the piece and suggestions were made regarding possible solutions which will possibly interfere in the interpretative conception of the piece. The conclusion brings possible interactions among the data collected, it identifies unifying elements and draws considerations on the structure of the piece concerning the technical difficulties of the instrument, therefore, creating a groundwork for an interpretation. This work has also a digital version of the piece and, in one of the annexes, a reduction of the orchestra grid for a second piano / Doutorado / Doutor em Música

Orientador: Mauricy Matos Marin / O manuscrito das peças e a edição revisada do ciclo para piano "Marinas" não serão disponibilizados por motivos de direitos autorais. / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T12:42:16Z (GMT). No. of bitstreams: 1 Pozzi_LuizGuilherme_M.pdf: 4667691 bytes, checksum: c4e978d496c1d7e95a74f6449d118339 (MD5) Previous issue date: 2011 / Resumo: O presente trabalho trata sobre a vida e obra do compositor Harry Crowl, criando um catálogo de sua produção musical e traçando um levantamento panorâmico de execuções de suas obras, evidenciando assim o valor de sua produção musical. Propõe-se aqui um estudo que leve diretamente à performance através da descrição das escolhas interpretativas e demais agentes que constroem a interpretação e execução musical em três peças de "Marinas", para piano, sendo elas 'Guaratuba e Antonina', 'Cabo da Roca' e 'Piran e Portoro¿'. Dentre os aspectos descritos nesse estudo encontram-se a reflexão sobre alguns toques pianísticos, os critérios para a escolha de dedilhado, a discussão sobre problemas de ordem técnica e de execução pianística sugerindo algumas de suas possíveis soluções e também se faz uma reflexão sobre o uso consciente dos pedais, salientando sua atuação valiosa para a interpretação pianística / Abstract: This dissertation deals with the life and work of the composer Harry Crowl, presenting a catalog of his musical production and an overview of performances of his works, thus demonstrating the value of his music production. Here we propose a study which leads directly to the performance of three pieces from "Marinas" for piano, by describing the interpretative choices and other factors present in the construction of a musical performance and interpretation. These pieces are 'Guaratuba and Antonina', 'Cabo da Roca' and 'Piran and Portoro¿'. Among the aspects described in this study are: a reflection about tone production (touch) on the piano, the criteria for the choice of fingering and the discussion of technical problems, suggesting some of its possible solutions, along with the reflections on the use of the pedals, emphasizing their valuable role in musical interpretation / Mestrado / Praticas Interpretativas / Mestre em Música

This thesis will be examining current song lyrics in popular and scholarly way to professionally judge possibilities of real impact of this lyrics to a historical consciousness of the listener. Then it will be following up the reasons why are historical topics so frequentative in song lyrics, various ways of interpretations, way od misinterpretations, influence of used instrument like language, form of the performance, sings, composition, mass character etc… To every each chosen interpret will be dedicated concrete and specific space in this thesis by the amount of the historical impact in his work. The result of this thesis should be very integrated and educated view to this subject of interest.

This thesis, titled ”Exploration in Art Music”, was conceived based on my curiosity to explore and compose music which combines the styles of jazz and Western classical music. Inspired by the Third Stream movement led by Gunther Schuller, which evolved in parallel with the 50’s avant-garde jazz scene, I have composed three musical pieces for a twelve-piece orchestra consisting of woodwinds, strings, and a jazz quartet. I’ve examined this work from the following two perspectives: As a composer – exploring ways to fuse the genres, observing contrasting idioms, and finding ways of opening up for improvisation when the music is otherwise through-composed. As a musician and bandleader – noticing how musicians from each of the two musical cultures approach and interpret written and improvised music. Throughout the project I have gotten a deeper insight into the culture of Western classical music, and this thesis observes and analyzes some of the differences and similarities, musically and performance-wise, between that and the jazz culture which I am originating from. / <p><strong>Framförd musik:</strong></p><p><em>Antmarch</em> - Erik Hasselfeldt</p><p><em>Midnatt i 1C307</em> - Erik Hasselfeldt</p><p><em>Akta dig för scootrar</em> - Erik Hasselfeldt</p><p><em>Louange á l’éternité de Jésus</em> - Olivier Messiaen</p><p><em>I stormens öga</em> - Erik Hasselfeldt</p><p><strong>Medverkande:</strong></p><p>Tvärflöjt – Tiitta Moilanen</p><p>Oboe – Sabina Scott</p><p>Bb Klarinett – Filippa Hedberg</p><p>Bb Klarinett &amp; basklarinett – Eskil Larsson</p><p>Fagott – Ciarán Hayes</p><p></p><p>Fiol – Maria Ikonen</p><p>Fiol – Vidar Karlsvärd</p><p>Cello – Elis Hakola</p><p></p><p>Sopran &amp; altsaxofon – Erik Hasselfeldt</p><p>Piano – Milos Lindegren</p><p>Kontrabas – Amanda Karström</p><p>Trummor – Filip Bällstav Öhman</p><p>Trumpet – Tumi Torfason</p>

The preludes as a whole do not conform to any specific formal mold, but offer a variety of form: binary, ternary, one-part, and five-part. As such, no new formal structures have been introduced by this "first" of the nineteenth century and twentieth century "disconnected" preludes. On the other hand, they are a heterogenous collection of styles, moods, and forms--a precedent that was followed by Debussy, Rachmoninoff, and various others. To determine the degree to which Chopin was harmonically advanced would require comparative analyses of works by his contemporaries and later nineteenth-century composers. Suffice it to say that one would be hard put to locate a collection of compositions of similar length and scope, written in the 1820's, that contains the wealth of harmonic innovations found within Opus 28.

This dissertation aims to explore the functions and meanings of four frequently used dynamic accent markings (fp, rf, sf and sfp) in Beethoven’s early chamber music with the fortepiano, with the consideration of acoustic qualities and playing capabilities of instruments intended for the studied works. The sources of reference here include the three Op.1 piano trios, two Op.5 cello sonatas, and three Op.12 violin sonatas, using a modern critical edition in conjunction with the first editions published during Beethoven's lifetime. The study consists of two parts. The first part surveys historical aspects including: 1) the development of relevant instruments, namely the bow and the fortepiano, and 2) existing accentuation conventions, especially those found in selected works of Haydn and Mozart, and appropriate treatises from Beethoven's time. The second part of the study entails the examination of consistency and frequency of dynamic accent markings in general, and that of individual accent markings using specific musical examples. The process of this investigation shows that these signs have distinct meanings, and consequently, require different treatments for their respective executions in performance. It also implies that the acoustic qualities of the ensembles with instruments from Beethoven's time are the most important factor contributing to variations found in his use of the accent markings among the different genres. Such acoustic qualities include the quieter volume and faster decay of the fortepiano, as well as the larger sonority from the cello especially in the lower register, when compared with instruments made for today's concert halls. These insights not only illuminate the possible ways to realize each marking, but also clarify accent markings which could seem inconsistent to modern performers, in terms of acoustic balance, especially in combinations that include the cello.

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

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This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

Ce travail est une étude sur le style et les références présentes dans l’œuvre pour piano solo de Nikos Skalkottas (1904-1949). Il (ré)intègre pour la première fois le compositeur dans le milieu des pianistes qu’il a connu pendant ses années berlinoises (1921-1933), en inscrivant l’œuvre dans son contexte et l’ensemble des références auxquelles elle renvoie. Une méthodologie analytique émerge de ces mises en relation, destinée à faciliter le travail de l’interprète et à révéler les composantes stylistiques du corpus. Une importance particulière est portée sur le raffinement du timbre des pianistes berlinois dans l’entre-deux-guerres, mis en valeur par le « son coloré » des Bechstein historiques. Cette observation devient le point de départ d’une série d’analyses graphiques, montrant le rôle de la texture et du timbre en tant qu’éléments compositionnels chez Skalkottas. Les analyses, destinées à être utilisées par les interprètes, dévoilent une interaction de la texture avec le schéma formel. Elles sont complétées par l’étude des pièces, groupées par pôles de référence pour l’ensemble du corpus. Ces références s’étendent de la musique baroque et de Beethoven au jazz dansant et à la musique légère, tout en incluant des éléments provenant de la musique grecque. Les deux approches choisies s’appuient sur des sources mises pour la première fois au service de ce répertoire et s’avèrent complémentaires. Elles ont comme but d’offrir aux pianistes des clés pour son interprétation, de le rendre plus accessible et de faciliter sa propagation. / This thesis is a research into the style and influences on the solo piano works of Nikos Skalkottas (1904-1949). For the first time the composer is considered in relation to the pianistic milieu he was acquainted with during his Berlin years (1921-1933) and his oeuvre is examined in the light of its various references. A specific analytical methodology emerges from these influences, aiming at facilitating the performer’s work and revealing the stylistic components of the pieces. The refinement of the timbre in the playing of Berlin pianists in the interwar years, enhanced by the “coloured sound” of the Bechstein historical pianos, acquires a special importance. It leads to a series of analyses and graphs, showing the role of texture and timbre as compositional elements in Skalkottas’s piano music. The graphs, meant for the use of pianists, reveal an interaction between texture and form. This is complemented by the study of the piano pieces grouped according to their references; they extend from baroque music and Beethoven to dance jazz, light music, and Greek music elements. Both approaches can be justified from the study of primary sources, used for the first time in relation to this repertoire, and are complementary. By offering pianists new tools for its interpretation, the aim is to facilitate the access to this music and help its further promotion.