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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the 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.
21

The Use of Isorhythm in Arnold Schoenberg's Third and Fourth String Quartets

Nedbalek, Leon 08 1900 (has links)
The purpose of this thesis is to investigate the use of isorhythm in two of Arnold Schoenburg's chamber works, the Third and Fourth String Quartets. The study of rhythm in twelve-note music has been generally relegated to a position less prominent than that held by the study of any of the other important aspects of the style. This condition is due probably to the fact that rhythm underwent less change with the advent of the twelve-note school of composition than melody, counterpoint, or harmony experienced. However, Rufer states that "rhythm has a special formal function in Schoenberg's twelve-note music, in addition to its motivic function and to that of creating subdivisions.
22

Prokofiev's Piano Sonata No. 4 in C Minor, Op. 29 (1917): A Performance Guide based on Interpretations by György Sándor and Boris Berman

Cho, Soyoung 07 1900 (has links)
One of the famous Russian composers and a pianist himself, Sergei Prokofiev (1891–1953) composed a vast quantity of piano music. His nine piano sonatas represent well how he projected his musical individuality and the principles that he addressed in his autobiography: classical line, modern trend, toccata line, lyrical line, and grotesque line. However, even though Prokofiev's piano sonatas are considered one of the important collections in the piano repertoire, not all of them have gained popularity and only a few tend to be frequently performed by pianists today. For this reason, this dissertation focuses on one of his less-performed piano sonatas, No. 4 in C minor, Op. 29. The pianists György Sándor and Boris Berman were chosen as specialists in Prokofiev's piano works, and their performance editions and recordings are analyzed and compared as main references. This study provides analysis and a performance guide to this piano sonata. This guide discusses pedaling, fingering, phrasing, touch, voicing, tempo suggestion, articulation, hand distribution, and expression.
23

Phantom-Kontrapunkt

Jeßulat, Ariane 24 October 2023 (has links)
Vermittelnd zwischen Konvention und dem im Notentext kaum dokumentierbaren Klang sind spätestens seit dem Ende des 18. Jahrhunderts Wendungen zu finden, die eine Vertiefung von satztechnischem Regelwerk im Orchesterklang annehmen lassen. Greifbar wird dies an zwar in der historischen Kompositionslehre, aber kaum in der Instrumentationslehre erfassten Topoi. Sei es, dass Trugschlüsse durch instrumentale Oberton-Effekte dissonanter, dass Dissonanzen in der klanglichen Entwicklung weicher, dass konsonante Klänge durch die Instrumentation dissonant klingen oder dass Dissonanzen eher ausgeblendet als konturiert aufgelöst werden, in all diesen Fällen erfahren musiktheoretische Problemstellungen erst jenseits des Notentextes ihre eigentliche Prägung. Solche ›Phantom-Kontrapunkte‹ sind in tonaler Musik selten Gegenstand wissenschaftlicher Betrachtung. An Beispielen von Beethoven, Mendelssohn und Haydn wird versucht, die Spannung zwischen satztechnischen und instrumentalen Konventionen und der klanglichen Gestaltung höranalytisch als musiktheoretisches Problem und künstlerische Intention zu rekonstruieren und der Lehre zugänglich zu machen. / Since the late 1790s, some features of orchestral music may have been understood as intensifying links between the conventions of musical composition and the rather fluid elements of the sound itself. In the history of music theory, those links can be found in literature about composition rather than in schools or textbooks for instrumentation. When a false cadence is made more dissonant by the effects of harmonics, when dissonant sounds seem to become softer during their development in the orchestral sound, when consonant sounds are made dissonant by means of the instrumentation, or finally, when dissonances are not properly resolved but rather faded out, we are confronted with problems of music theory that go beyond the score. Such a ›phantom counterpoint‹ as an issue of tonal music has not yet been examined in musicology. This article will approach the tension between conventions of composition, voiceleading, style, and instrumentation in order to reconstruct the musical ideas as theoretical background and creative intention and to develop a new tool for music analysis.
24

Segmentational Approaches of Atonal Music: A Study Based on a General Theory of Segmentation for Music Analysis

Acevedo, Stefanie 01 October 2010 (has links)
No description available.
25

Metrical Dissonance in Selected Piano Pieces by Johannes Brahms, with Implications for Performance

Yang, Yu-Wen 30 October 2012 (has links)
No description available.
26

The reception of Carl Nielsen as a Danish National Composer

Gutsche-Miller, Sarah January 2003 (has links)
No description available.
27

Análisis jurisprudencial de la reincidencia impropia y quebrantamiento

Sanhueza Vilches, Daniela January 2015 (has links)
Memoria (licenciado en ciencias jurídicas y sociales)
28

The Analytical System of Hindemith and Schenker as Applied to Two Works of Arnold Schoenberg

Miron, Nathan (Nathan Ben) 01 1900 (has links)
This thesis uses two different musical analytical systems, one of Heinrich Schenker and one of Paul Hindemith, to analyze tonality within "Die Gurre Lieder" and "Fourth String Quartet" by Arnold Schoenberg.
29

A study of J. S. Bach’s Toccata BWV 916, L. van Beethoven’s Sonata op. 31, no. 3, F. Chopin’s Ballade, op. 52, l. Janáček’s In the Mists, I, III; and S. Prokofiev’s Sonata, op. 28: historical, theoretical, stylistic and pedagogical implications

Krajciova, Jana January 1900 (has links)
Master of Music / Department of Music / Slawomir P. Dobrzanski / The following report analyzes compositions performed at the author’s Master’s Piano Recital on March 15, 2012. The discussed pieces are Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E flat major, op. 31, no. 3; Frederic Chopin’s Ballade in F minor, op. 52; Leoš Janáček’s In The Mists: I. Andante, III. Andantino; and Sergei Prokofiev’s Sonata in A minor, op. 28. The author approaches the study from the historical, theoretical, stylistic and pedagogical perspectives.
30

SELECTED TWENTIETH-CENTURY STRING QUARTETS: AN APPROACH TO UNDERSTANDINGSTYLE AND FORM

Walker, Mary Beth January 1977 (has links)
No description available.

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