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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
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 91 to 100 of 103 (0.021 seconds)| 91 |
Interpretation of Karol Szymanowski's Piano Music: Performer's Guide to Selected Piano Works: Prelude, Op. 1, No. 7, Variations in B-flat Minor, Op. 3, Masques, Op. 34, No. 1, "Sheherazade," and Mazurkas, Op. 50, Nos. 1 and 2Kang, Dong Hyun 18 October 2018 (has links)
No description available.
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The First Movements of Sergei Bortkiewicz's Two Piano Sonatas, Op. 9 and Op. 60: A Comparison including Schenkerian Analysis and an Examination of Classical and Romantic InfluencesChen, Yi Jing 08 1900 (has links)
The purpose of this study is to analyze the first movements of Sergei Bortkiewicz's two piano sonatas and compare them with works by other composers that may have served as compositional models. More specifically, the intention is to examine the role of the subdominant key in the recapitulation and trace possible inspirations and influences from the Classical and Romantic styles, including Mozart, Beethoven, and Schubert. The dissertation employs Schenkerian analysis to elucidate the structure of Bortkiewicz's movements. In addition, the first movement of Mozart's Piano Sonata K. 545, Beethoven's Coriolan Overture, and the first movement of Schubert's "Trout" Quintet in A, D. 667, are examined in order to illuminate the similarities and differences between the use of the subdominant recapitulation by these composers and Bortkiewicz.
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A Comparative Study of Harmonic Tension in Hindemith's Piano Sonatas and in His Theoretical WritingsTull, Charlotte 08 1900 (has links)
The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.
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The Amalgamation of Western and Eastern Influences in Julius Schloss's "First Chinese Rhapsody"Cai, Ying (Pianist) 08 1900 (has links)
The dissertation seeks to rediscover Julius Schloss, a German Jewish composer victimized by the Nazis. Except for the promising start of his career in his early years, Schloss suffered a hard life as an exiled refugee. However, his unusual experiences inspired him to compose two Chinese Rhapsodies during his last years of exile in Shanghai, in which he synthesized Western composition techniques and Chinese folk materials, amalgamating influences from both Western and Eastern music cultures. Focusing on Schloss's First Chinese Rhapsody, the dissertation explores how Schloss links the new to the old, the West to the East, through an analysis of the way he employs Chinese folk song material and serial polyphonic voice-leading in his post-tonal musical language. Since the Rhapsody has both serial and polyphonic voice-leading aspects, both are analyzed, showing how they are integrated in the form.
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An internship in environmental education and water quality with Sanitation District No. 1Olwine, Ashley M. 10 September 2010 (has links)
No description available.
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Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical StudyLee, Tze Fung Alfred 08 1900 (has links)
This study is an investigation of tonal structures in selected preludes of Shostakovich's Op.34. Explanations and analytic perspectives provide support of tonality oriented interpretation for the compositions which often appear to be "atonal." Chapter One is divided into (1) historical perspectives of the prelude as form, and (2) Summary of Shostakovich's life and work. Chapter Two contains a historical background of (1) the development of Shostakovich's compositional styles, emphasizing his early style of piano composition, and (2) the impact of his "Lady Macbeth," the crisis and its influence on later works. Chapter Three deals with the problems of and analytical approaches in the study of the selected preludes.
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Sounds Themselves: Intersections of Serialism and Musique Concrète in Karlheinz Stockhausen's "Elektronische Studie I"Huff, David, 1976- 08 1900 (has links)
In the summer of 1953, Karlheinz Stockhausen began composing his first piece of elektronische Musik at the Westdeutscher Rundfunk Studio for Electronic Music in Cologne. Up to that point, Stockhausen's only experience with electroacoustic music was his time spent at the Radiodiffusion-Télévision Française the previous year, where he assisted Pierre Schaeffer and composed a piece of musique concrète. An early case study in the marriage of serial aesthetics and electroacoustic techniques, Studie I is a rigorously organized work that reflects Stockhausen's compositional philosophy of a unified structural principle in which all musical materials and parametric values are generated by and arranged according to a single governing series. In spite of this meticulously wrought serial structure, Studie I displays features that are the consequences of the realities of electronic sound production either imposing on the sonic result, or altering the compositional plan entirely. I use a three-part approach to my analysis of Studie I by examining Stockhausen's serial system, the electroacoustic studio techniques in use in 1953, and the original recorded realization through spectrographic analysis. Using this methodology, I expose the blurring of the supposed divide between elektronische Musik and musique concrète by exploring the features that lie between the serial plan and the technical processes Stockhausen used to realize Studie I.
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"Very Beautiful and Very American": A Multicultural Analysis of Florence B. Price's Quintet in A Minor for Piano and StringsCarvajal Harding, Taryn Jane 26 April 2023 (has links) (PDF)
This paper examines the Quintet in A Minor for Piano and Strings by Florence B. Price (1887-1953). One of Price's latest compositions (with final revisions dated January 21, 1952), the Quintet is a masterful example of what is possible when using a multicultural lens to approach the making of American music. This paper exposes the insufficiency of examining (and assessing) multicultural composers and their works only with traditional Western European analytical views, when an expanded approach is needed to explain many of the non-European musical influences and phenomena. While more complex and challenging, this expanded analytical approach sheds added light and understanding on all compositional techniques used within this work. This analysis of the Quintet in A Minor shows that Price often self-quotes from some of her own earlier works; specifically works from her organ, art song, and symphonic oeuvres. The findings also show that Price's understanding of both Western Classical traditions and African-American musical traditions enabled her to intertwine multiple cultures, creating novel forms that are authentic to the American experience she lived. Price created what she referred to as a "very beautiful and very American" sound.
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Rhythmic And Metric Structure In Alberto Ginastera's Piano SonatasHammond, Rachel 01 January 2011 (has links)
Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career. The Sonata No. 1 for Piano Op. 22 (1954), Sonata No. 2 for Piano Op. 53 (1981), and Sonata No. 3 for Piano Op. 54 (1982) have been analyzed and discussed in recent scholarship. Theorists have identified Western techniques such as sonata-rondo form, serialism, and symmetry in his compositions. Yet, when addressing rhythm, scholars have focused primarily on highlighting the Argentine dance or Amerindian rhythm that the music exemplifies and have neglected to apply Western analytical tools for analyzing rhythm. The goal of this paper is to approach rhythm and meter in the piano sonatas from a new perspective in order to identify Ginastera’s Western European musical techniques. Attention will be given to Ginastera’s use of and denial of metric hierarchy and periodicity. The paper will also focus on consonant and dissonant rhythms in the piano sonatas, as well as additive and subtractive rhythms. Because any discussion of rhythm and meter in Ginastera’s music cannot ignore its nationalistic origins, the paper provides an introductory chapter that discusses Argentine dance iii rhythms. However, the bulk of the paper aims to provide analyses from a Western art music viewpoint that illustrate Ginastera’s compositional manipulation of rhythm and meter.
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Práva podniků při vyšetřování deliktů v soutěžním právu Evropské unie / Rights of enterprises in the investigation of delicts within EU competition lawTomicová, Jana January 2015 (has links)
As it is evident from the title, in my thesis I would like to provide an overview of the undertakings' procedural rights in proceedings under Article 101 and/or 102 of the Treaty on the Functioning of the European Union. Given the extensive investigative powers that are granted to the European Commission by the Council Regulation No 1/2003 and the consequences of being found guilty of violating Article 101 and/or 102 of the TFEU, it is necessary to ensure that the undertakings have enough ways available to exercise their right to defence and other rights and privileges guaranteed by the EU law and international treaties such as European Convention on Human Rights (e.g. the right to respect for private life). For this reason the EU law provides a range of procedural rights that should guarantee that both all the fundamental rights are observed and also serve as a system of checks and balances that prevents the misuse of the Commission's investigative powers. My thesis will focus individual rights of undertakings that are provided to them by the Council Regulation No 1/2003 and EU courts judicature. I will analyse their scope and purpose, the conditions under which they can be exercised and their limitations. Simultaneously a comparison between the rights of undertakings in the EU and U.S. legal system will...
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