Humboldt-Univ., Diss.--Berlin, 2003. / Literaturangaben.

Scholars and performers have long wondered when and why Beethoven composed an alternative ending to his string quartet, Opus 130. The original, the Grosse Fuge, was an immense and heavy multi-sectioned fugal finale; the second was a much shorter and lighter hybrid sonata-rondo form finale. The second finale was the last substantial piece Beethoven composed and is reminiscent of earlier dance-like 2/4 Allegro finales composed by Beethoven, likely influenced by Haydn. This style is seemingly incongruous with our current understanding of Beethoven’s late style, centered around foreign harmonies and forms, with expansive thematic material. While research on this topic has been extensive, including studies in biography, source material, reception history, and harmonic and formal analysis, it has not led to a fully adequate understanding of this second finale. My study aims to provide a fresh understanding of this movement through the examination and evaluation of the later stages of its composition. The major sections of revision found in the composing score, Berlin, Deutsche Staatsbibliothek, MS Autograph 19c, and the autograph fair copy, Berlin, Deutsche Staatsbibliothek, MS Grasnick 10, are closely studied here for the first time. In order to highlight important steps in the creative process, I have selected four heavily revised areas from each of the sonata-form sections of this movement as shown in both manuscripts. My interpretation of these revisions is based on comparison to parallel sections in both manuscripts and the final version, as shown in transcriptions of these passages from the sketches along with accompanying images of the original pages. For each of these sections, I attempt to suggest the order in which Beethoven made his revisions, and I discuss their formal, thematic and harmonic implications. As a whole, these revisions reveal Beethoven’s concern for economical treatment of thematic material, especially motives from theme 1a, and a concern for playing upon the harmonic and formal expectations of his audience. The voicing of theme 2a in the exposition and recapitulation, and the voicing and texture of theme 1a in the development, the false and authentic recapitulations and the coda are analyzed in terms of momentum, sectional balance, texture, and dramatic tension. I suggest that further study of these sketches and related primary source material might help to revise our notion of Beethoven’s late style.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:46Z No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-16T20:59:39Z (GMT) No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) / Made available in DSpace on 2018-03-16T20:59:39Z (GMT). No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) Previous issue date: 2017-12-15 / O presente trabalho aborda o processo criativo do autor na interpreta??o da su?te Remem?rias Opus 79 para viol?o solo do compositor Marlos Nobre (1939-). Na referente pesquisa, o int?rprete descreve seu processo criativo partindo de sua experi?ncia emp?rica na interpreta??o da referida obra. As ideias interpretativas foram fundamentadas em uma entrevista realizada com o compositor e nas influ?ncias da m?sica tradicional nordestina presentes na pe?a. Autores como, Andrade (1972, 1989), Alvarenga (1982), Corquer-Nobre (1994), Barancoski (1997), Azevedo (2000), Ferraz (2007), Silva (2007), Cavini (2009), Anjos (2013), nortearam nosso referencial te?rico. Foram elaborados exemplos musicais de trechos editados da partitura, exemplos audiovisuais e uma grava??o audiovisual completa da pe?a. / The present work deals with the creative process of the author in the interpretation of the Remem?rias Opus 79 suite for solo guitar by brasilian composer Marlos Nobre (1939-). In this research, the interpreter describes his creative process based on his empirical experience in interpreting the work. In order to provide a foundation for his interpretative ideas, the author made use of an interview with the composer and of the influences of traditional Northeastern music present in the piece. Authors like Andrade (1972, 1989), Alvarenga (1982), Corquer-Nobre (1994), Barancoski (1997), Azevedo (2000), Ferraz (2007), Silva (2007), Cavini (2009) and Anjos (2013), guided our theoretical reference. Musical examples of edited pieces of the score were developed, and use was made of audiovisual examples and a complete audiovisual recording of the piece.

I mitt examensarbete har jag valt att skriva om sats 1 ur Felix Mendelssohns violinkonsert. Jag har valt detta stycke för att jag tycker väldigt mycket om det och jag har lyssnat på violinkonserten sedan jag var ett litet barn. Syfte har varit att undersöka om utförandet av ett musikstycke kan påverkas av om man är ergonomiskt medveten eller inte. Jag fann intresse att skriva om ergonomi då jag har egna erfarenheter av att ha problem med spänningar och smärta i min kropp när jag övat (i synnerhet nacke, axlar och armar) och har insett att det kan vara sammanlänkat med ett bristande ergonomiskt medvetande i mitt fiolspel. Jag har velat undersöka om jag med ergonomiska övningar kan undvika spänningar och smärta. Jag har valt ut ett par passager ur stycket och undersökt vad det är för spänningar och smärta som uppkommer. Jag valde ut några ergonomiska övningar för nacke och axlar som förhindrar att spänningar uppstår och provade att se om övningarna kunde förbättra mitt framförande av passagerna. Övningarna gav ett mycket positivt resultat. Jag märkte en tydlig skillnad från tidigare: det krävdes bara ett par minuters ergonomiska övningar innan varje övningspass av de olika passagerna för att bli av med spänningarna och smärtan. Jag har känt mig mycket mer avslappnad i kroppen efter att jag praktiserat övningarna. Därför har jag absolut haft nytta av att undersöka detta ämne. Jag har blivit mer medveten om vilket viktigt verktyg ergonomin tillför till övningen. Dessa typer av övningar kommer jag använda mig av i framtiden i mitt musicerande. Förhoppningsvis kommer mitt arbete inspirera andra musiker att bli mer ergonomiskt medvetna. Detta är ett ämne vi inte ska underskatta.

Diploma thesis focuses on the selection of suitable HW solution for parallell processing of multiple audio sources. Compares several different platforms based on architectures ARM, x86 and Epiphany, compares their performance in serial and parallel data processing, their energy consumption and price.

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