This document was created to provide a new edition of Hugo Distler's Es ist ein Ros' entsprungen variations from Die Weihnachtsgeschichte, op. 10. Through my experiences with this work as a singer and a conductor it has become clear that, although the work was written for modest forces and was intended for practical use within a church service, the work's practicality is compromised due to a number of factors. Several editions of the variations exist, but all pose problems to modern choral ensembles. These problems include: lack of uniform barlines, which makes conducting the work difficult since Distler writes simultaneously contrasting meters throughout Die Weihnacthsgeschichte; omission of the surrounding texts for dramatic context; an antiquated German font that is difficult to read; English translations which obscure literal meaning and Distler's careful text-painting; and lack of a piano reduction. I demonstrate that it is possible to create a new edition of Distler's Es ist ein Ros' entsprungen variations that is more accessible to modern choral ensembles while respecting the composer's stylistic and dramatic intent. This edition (1) retains Distler's original meters but makes them easier to read by regularizing the barring; (2) includes other texts from the Weinachtsgeschichte to provide context for the variation texts; (3) is printed in a more legible modern font; (4) preserves the original German language but also provides English translations for the texts to make it easier for non-German speakers to understand meaning and recognize text-painting; and (5) includes a piano reduction of the vocal parts. The methodology I have used in the editorial process is provided and examples are discussed. I also provide suggestions for rehearsal procedures to help preserve the composer's stylistic intent. My completed new edition has been included for perusal.

Arnold Schoenberg's Second String Quartet, Op.10, completed in 1908, is the last of his works in which a key signature is used, and is generally regarded as a transitional work leading towards his 'atonal' period. Each of the first three movements has a key signature, whereas the last movement has no key signature--a characteristic of his later atonal works. / This study traces how the harmonic language evolves over the four movements of the quartet. The present analysis of each movement shows the structural procedures, the nature of the polyphony and the compositional techniques employed, including those which result in the dissolution of tonality. These changes contribute to the significance of the quartet as a critical work within the transition from the tonal to atonal medium.

No description available.

No description available.

This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.

Orientador: Nahim Marun Filho / Resumo: O objetivo nuclear de nosso trabalho foi realizar a edição crítica do Concerto para piano e orquestra, op.10, de autoria de Henrique Oswald. A tese consistiu na pesquisa e coleta (recencio), no exame e na classificação rigorosa dos manuscritos que contêm a obra em foco; cotejo (colatio) dos manuscritos, a fim de identificar os seus lugares-críticos e proceder à organização genealógica (estemática) dos testemunhos; finalmente, com base em todo o trabalho anteriormente realizado, estabelecer o texto crítico da obra em questão (emendatio). O trabalho resultou na edição crítica do Concerto para piano e orquestra, op.10, de Henrique Oswald, nunca antes, aliás, editado criticamente. O capítulo 1 versa, compendiosamente, sobre os princípios fundamentais que articulam e orientam o trabalho ecdótico, isto é, o trabalho cujo objetivo é o estabelecimento crítico do texto de uma obra (literária, musical, etc); o capítulo 2 tece considerações históricas sobre o compositor e, mais especificamente, a respeito da obra da qual realizamos a edição crítica; o capítulo 3 descreve as fontes existentes ou conhecidas, sua classificação e como foram utilizadas; o capítulo 4 apresenta a introdução crítica e o método editorial usado; o capítulo 5 apresenta o aparato crítico resultante e o capítulo 6 expõe as notas textuais. A edição crítica foi anexada ao final da tese. / Doutor

A performance tradition stemming from the 19th century permitted lied accompanists to deviate considerably from the notated score when a flexible reaction to concrete performance situations was necessary. In this article some of these ‘accompanist’s licences’, as well as their decreasing acceptance in 20th century’s performance style, are described according to written sources. A comparative analysis of recordings of the lied “Zueignung” op. 10 No. 8 by Richard Strauss illustrates exemplarily the decline of ‘accompanist’s licences’ during the decades after 1900. Finally, the results are interpreted against the background of general developments in musical performance style.

Chapter One introduces the problem that existed in music and logic-psychology at the end of the 19th century. Both music and logic-psychology were in the cul-de-sac of relativism, which had led to obscurity of method and language. Asthetics-criticism is seen to be in the same relativistic position. It is postulated that phenomenological method could aid in music criticism and aesthetic awareness. The second chapter presents a motivic, or Idea, analysis of Schoenberg's second and third string quartets, showing how the twelve-tone method was developed as a way of curing musical composition of the tonal obscurity of late Romanticism. The third chapter is a short exposition of Husserl's development of phenomenological method from his initial work in logic and mathematics to transcendental phenomenology. Chapter Four discusses some of the methodological parallels between Schoenberg and Husserl. Parallels are drawn from all creative periods of their respective work. Chapter Five focuses on similar problems raised in contemporary aesthetic-criticism and their relationship to the methods of Husserl and Schoenberg. Showing how both men solved their problems, a solution is projected for aesthetics-criticism.