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Kaikhosru Shapurji Sorabji's Toccata SecondaChaulk, Jeremy January 2015 (has links)
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Almeida Prado and his extramusical inspirations : a study focused on selected piano worksThys, Marcelo January 2015 (has links)
No description available.
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Contemporary Rock Formations: Rock Elements in Classical MusicKrowicki, Marek January 2015 (has links)
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Verschleierte symphonien : unveiling the symphonic in the piano sonatas of Johannes BrahmsPetersen, Katherine January 2015 (has links)
No description available.
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Sets and senses : a work for symphony orchestra accompanied by an analysis : a hierarchy of scienceart interactionsHolbrook, Geoffrey. January 2006 (has links)
No description available.
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Imaginary tangos : revisiting tango’s vocabulary through 21st century cello worksDelgado, Juan Sebastián January 2017 (has links)
No description available.
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The post-tonal compositional method of Nikolay Andreyevich Roslavets : an analysis of his five preludes for pianoFerenc, Anna January 1989 (has links)
No description available.
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Noite dos tambores silenciosos : for symphony orchestraMoura, Eli-Eri Luiz de January 2003 (has links)
No description available.
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A Comparative Analysis of the Orchestral and Piano Versions of Finlandia by Jean Sibelius in Relation to His Compositional Style, 1899–1904Teppo, Ruusamari 05 1900 (has links)
While he was composing his important orchestral tone poem Finlandia in 1899–1900, Jean Sibelius (1865–1957) made his own piano arrangement of it. The purpose of this study is to compare the piano arrangement and orchestral version and to see further the similarities with Sibelius's other piano compositions from the same time period (1899-1904). Through this study I have found compositional patterns, which are typical for the composer and defined his composition style for piano during his "Kalevala-Romantic" phase. Sibelius's piano style was characterized as unpianistic and bulky by some. However, through my research I can show that with an analysis of certain harmonic structures, subtle use of pedal and correct voicings, his piano texture is indeed very thoughtful and transparent with a clear focus on counterpoint while remaining pianistic and comfortable to play. In order to fully understand the idiosyncrasies of the two versions of Finlandia, a detailed comparative analysis of the piano and orchestral scores is necessary. For this purpose, I primarily used the printed scores of both the piano and orchestral versions. In addition, the manuscript of the piano version of Finlandia was consulted as an important resource. From the orchestra manuscript, only one page has been found. The analysis focuses on the comparison between the textures of both versions, the score and the piano arrangement. I also applied the results of the comparison to the other scores of Sibelius's piano compositions from that time period to show his consistency in his use of the described arrangement techniques. With using the orchestration possibilities of the piano Sibelius's writing allows the instrument to stand completely on its own using all the possibilities of the piano sound while maintaining a highly pianistic texture. The goal of my research is to provide insight to understanding Sibelius's early piano style, introduce some performance practice ideas appropriate to this period, and highlight his smaller-scale works such as the character pieces and songs of this period.
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The Two-Part Framework in Selected Choral Works as a Harmonic and Stylistic DeterminantTurner, Michael W. 05 1900 (has links)
The problem with which this investigation is concerned is the determination of compositional styles in terms of manners of employing monadic and dyadic intervals in the music of the common practice period. An aspect for determining style is proposed by way of comparing the frequency of occurrence of dyads and monads in selected musical examples from the baroque, classical, and romantic periods. Chapter I is a discussion of the problem and methodology of the study. Chapters II, III, and IV present analytic comparison of examples in the baroque, classical, and romantic periods respectively. Chapter V presents a summary of the findings with references to the pedagogical applications of the two-part framework principle.
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