The prevalence of expressionism in the early twenty century was strongly related to the social environment at that time. Under the political situation of militarism and absolute monarchy, the society was facing a severe turbulence in Germany. And, an economic system based on capitalism also lead to extreme disparity between the rich and the poor. Additionally, the scientific study of rationality revealed the importance of caring for the inside needs, which gradually resulted in the prosperity of expressionism in different kinds of arts fields, including literature, theater, painting, music and so on. Expressionists started to express their feeling in a distorted way in order to show their true self and emotional experience. Arnold Schoenberg, who was one of the chief representatives in music of expressionism, used atonal composition skill as a reflection of his dissatisfaction against the reality. This study is divided into three main parts, excluding the part of introduction and conclusion. In the first part, the origin and style of expressionism in the early twenty century is introduced. Secondly, factors leading to the transformation of Schoenberg¡¦s composition skill, from the conventional method to the innovative atonal technique, are further discussed, which include the effect from other expressionists in other fields and his living environment. In the last part, Drei Klavierstucke, Opus 11 is taken as an example to demonstrate its historical background, music features, and composition techniques used in the work to specifically tell the content of expressionism.

Thesis (J.C.L.)--Catholic University of America, 1989. / Includes bibliographical references (leaves 94-97).

Thesis (J.C.L.)--Catholic University of America, 1989. / This is an electronic reproduction of TREN, #029-0171. Includes bibliographical references (leaves 94-97).

Paul Creston (1906-1985) was one of the most significant American composers from the middle of the twentieth century. Though Creston maintained elements of the nineteenth-century Romantic tradition and was categorized as a “Neo-Romantic” or “20th-century traditionalist,” many of Creston’s compositions contain elements of Baroque music. His Piano Sonata, Opus 9 provides significant examples of Baroque elements, while already foreshadowing his mature style. The purpose of this study is to explore Baroque elements in the compositional language of Paul Creston’s Piano Sonata, Opus 9. All four movements of the Piano Sonata will be examined in regards to its stylistic features associated with Baroque practices. These features mainly consist of rhythm, texture, imitative writing, and repeated phrase structure. Each category of the study will include comparisons of Domenico Scarlatti’s keyboard sonatas with Creston’s sonata. Through an examination of the Piano Sonata and its Baroque elements, this study hopes to inspire renewed interest in the work among musicians and to help the performer give a more stylistically coherent, and accurate, performance.

While many of Shakespeare's alchemical allusions are noted for their language of positive regeneration and healing, the playwright's departures from these conventional uses of alchemy deserve further attention. This essay presents an examination of inversions in the redemptive alchemical paradigm of Othello, a play whose connections to alchemy are not announced by obvious references to gold making, the philosopher's stone, or other key terms relating to the discourse of the opus that a modern audience is likely to recognize. I argue that in Othello, alchemical allusions are more subtly deployed in the language that describes Othello and Desdemona's marriage, in the metaphorical speech of Othello's self-doubt, in Desdemona's characterization, and in Iago's references to medicine. My reading of the alchemical context of the play shows the following: Othello and Desdemona's marriage, a figurative manifestation of the hermaphroditic union in which man and woman consistently appear as equals, counters representations of patriarchal dominance in the early modern period; Othello's capacity for rhetorically gifted expression remains intact instead of disintegrating, as evidenced by the alchemical metaphors in his lamentations of the "loss" of Desdemona's purity; Desdemona's role in the tragedy is illuminated by her characterization which is reminiscent of dual Mercury; and Iago's own alchemical language offers insight into his role as the instigator of tragic events. Taken together, these alchemical associations suggest that Shakespeare found in alchemy a fitting framework in which to present the drama of destabilization.

No description available.

No description available.

Orientadores: Mauricy Matos Martin, Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T17:54:10Z (GMT). No. of bitstreams: 1 Alves_AlinedaSilva_M.pdf: 21332609 bytes, checksum: 1b443b99d62f525e34fc7498035908ae (MD5) Previous issue date: 2012 / Resumo: Este trabalho aborda a peça Variações Rítmicas opus 15 para piano e percussão típica brasileira do compositor Marlos Nobre. Seu objetivo principal foi realizar um estudo analítico e um mapeamento histórico da peça a fim de proporcionar ao intérprete uma maior intimidade com a obra a ser executada. A metodologia divide-se em duas partes: estudo do contexto histórico sob o qual a obra foi criada e o estudo analítico da obra musical e do seu estilo através da análise da partitura. O estudo do contexto histórico foi realizado a partir de trabalhos que enfocam a biografia sobre o compositor, a revisão da literatura sobre sua obra e de trabalhos que abordam a história da música no Brasil. O estudo analítico teve como referência o trabalho de Jan LaRue (1998) que enfoca o estilo musical através de um estudo descritivo dos elementos musicais que compõem a peça. As sugestões de execução para o pianista, que se encontram no decorrer do texto de estudo analítico, abordam aspectos relacionados à utilização dos pedais, à equalização sonora e às questões técnico-motoras. Na conclusão foi evidenciado como o compositor relacionou elementos dodecafônico-seriais de composição com elementos rítmicos brasileiros e também em quais aspectos o estudo analítico contribuiu diretamente para a execução pianística. Os resultados demonstraram que Variações Rítmicas opus 15 é uma peça que foi claramente influenciada pelo entorno cultural vivido pelo compositor no início dos anos 1960 e, apesar de ser uma peça de juventude, apresenta traços marcantes do estilo composicional de Marlos Nobre como a técnica de variação contínua e o uso de elementos nacionais / Abstract: The historical study was based on the literature concerning the This dissertation deals with the composition Variações Rítmicas opus 15 para piano e percussão típica brasileira [Rhythmic Variations Opus 15 for Piano and Typical- Brazilian Percussion] by Marlos Nobre. Its main objective is to provide an analytical and historical study thus giving the interpreter more detailed knowledge of the piece for performance. The methodology adopted is divided in two parts: a study of the historical context in which the piece was composed and an analytical study of its style through an analysis of the score. composer's biography and his musical output, as well as the music historical context of Brazil. The analytical study is based mainly on the work of Jan LaRue (1998) which focuses on musical style through a descriptive approach of the musical elements that make up the composition. Suggestions of e xecution for the pianist, provided throughout the analytical study, deal with aspects related to pedaling, voicing and technical - motor issues. The conclusion demonstrates how the composer relates twelve - tone serialism to Brazilian rhythmic elements and also in which ways the analytical study contributes directly to the performance of the piano part. The results demonstrate that the Variações Ritmicas Opus 15 is a composition clearly influenced by the cultural environment lived by the composer in the beginning of the 1960's, and although it is a work from his youth, it still presents striking traces of Marlos Nobre's compostional style such as continuous variation and the use of nationalist elements / Mestrado / Praticas Interpretativas / Mestre em Música

Le but principal de ce travail est d'offrir une interprétation systématique de la théorie kantienne de l'espace. Face à l’œuvre kantienne, telle interprétation doit tenir compte du fait qu'on y trouve deux genres de propositions. Premièrement celles qui se rapportent à l'espace comme forme du sens externe. Deuxièmement celles qui concernent l'espace conçu comme lui-même un objet de l'expérience. Ce double discours sur l'espace qu'on trouve dans le corpus kantien autorise d'opposer un espace matériel à l'espace comme simple forme. Ainsi, ce travail ne se limite pas à une étude de l'Esthétique transcendantale dans la première Critique, mais aboutit à une analyse de l'exposition métaphysique de l'espace qui crée une place pour ce que nous enseigne l'Opus postumum au sujet de l'espace matériel senti. L'argument du travail est ancré sur trois thèses. Thèse 1 : À l'intérieur de la première Critique, il règne une asymétrie entre fondation de l'idéalisme transcendantal et fondation du réalisme empirique. Thèse 2 : Certaines réflexions tardives de l'Opus postumum impliquent une reconnaissance implicite dudit problème d'asymétrie. Thèse 3 : Le résultat de l'exposition métaphysique de l'espace peut donner lieu à deux conceptualisations différentes, dont une n'est pas thématisée à l'intérieur de la première Critique. En guise de conclusion est esquissé un système kantien des interprétations de l'espace, pour lequel la table kantienne du rien figure comme principe ordonnant. Tel système rend possible de comprendre a priori la possibilité de la génération des conceptions de l'espace défendues respectivement par Newton, Leibniz et Kant. / The principal aim of this work is to provide a systematic interpretation of the Kantian theory of space. It is important to note that such an interpretation has to account for the fact that, in Kantřs works, we seem to find two different concepts of space. Firstly there are propositions concerning space as a mere form of outer sense. But secondly, we also find Kant speaking about space as itself an object of experience that can be sensed. This double discourse on space authorises to oppose what I call material space to space as a pure form. Therefore, in aiming at a systematic account of Kantian space, we shouldnřt limit ourselves to the study of the transcendental Aesthetics. I show that it is possible to provide an analysis of the metaphysical exposition of space that is combinable with that which the Opus postumum teaches us about material space. The argument of the work contains three principal theses: Inside the first Critique, there is an asymmetrical relationship between the foundation of transcendental idealism and empirical realism. Certain later reflections in the Opus postumum show that this asymmetry is problematic for the project of a transcendental philosophy as a system. The result of the metaphysical exposition of space can be interpreted in two ways, but only one of them has been developed by Kant in the first Critique. At the end, the work offers what I call a Kantian system of the possible interpretations of space, for which the Kantian table of nothing figures as a template. This system allows an a priori understanding of the generation of a Newtonian, Leibnizian and finally a Kantian conception of space.

In this study, Prokofiev’s Eighth piano sonata was analyzed based on interpretation and technique. Prokofiev lived in the communist Soviet Union, during the middle of the Second World War, and wrote music with a lot of collected experience. The purpose of the study was to illustrate important interpretational- and technical aspects that are required to perform the sonata, based on personal experience. To accomplish this, the piece was practiced for several months, while continuously taking notes of my personal reflections based on the practice sessions and recordings. The study shows that the interpretation should strive to clarify different motives as well as enhancing contrasting characters in the music, while technical difficulties in demanding parts of the sonata often are solved by putting emphasize on evenness, and by considering input from several senses in the practice room. The results are useful for studying other large compositions and remain a documentation of how such extensive piano music can be approached. / I studien analyserades Prokofjevs åttonde pianosonat utifrån interpretation och spelteknik. Prokofjev befann sig i kommunistiska Sovjetunionen, mitt under andra världskriget, och skrev musik med mycket samlad erfarenhet. Syftet med studien var att belysa viktiga interpretations- och teknikbaserade aspekter vid uppförandet av sonaten, baserat på egen beprövad erfarenhet. För att åstadkomma detta övades stycket in under flera månader, medan reflektioner skrevs ner baserat på övningspassen samt inspelningar. Studiens resultat påvisar att tolkning bör göra motiven så tydliga som möjligt samt lyfta fram olika karaktärer i musiken som styrker temat, medan tekniska svårigheter i krävande partier ofta löses genom att fokusera på jämnhet samt att öva med flera sinnen i fokus. Resultatet är användbart även vid instudering av andra omfattande verk och är en dokumentation på hur sådan omfattande pianomusik kan tas an. / <p>S. Prokofjev - Sonat nr 8, op 84</p>