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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.
41

MOTIVIC STRUCTURE IN THE CHORALE-BASED ORGAN WORKS OF SIR CHARLES HUBERT PARRY: AN ANALYTICAL SURVEY

FLEURY, W. LEIGH 27 June 2007 (has links)
No description available.
42

Chopin's 24 Préludes, Opus 28: A Cycle Unified by Motion between the Fifth and Sixth Scale Degrees

Boelcke, Andreas Maximilian January 2008 (has links)
No description available.
43

A Performer’s Guide to the Six Preludes, Op. 6, and Toccata, Op. 15, of Robert Muczynski, With a Short Synopsis of Russian Influence and Style

Cho, Min-Jung 20 December 2002 (has links)
No description available.
44

The post-tonal compositional method of Nikolay Andreyevich Roslavets : an analysis of his five preludes for piano

Ferenc, Anna January 1989 (has links)
No description available.
45

A Pedagogical Guide to the Twenty-Four Preludes for Piano, Op.67 (1814), by Johann Nepomuk Hummel

Liang, Haoyue 07 1900 (has links)
Johann Nepomuk Hummel (1778–1837) was a leading composer, virtuoso pianist, and well-known pedagogue during the late Classical and early Romantic periods. His music was important and frequently performed during his lifetime, but his piano preludes, Op. 67, seem to have been completely forgotten. These preludes reflect the traditional use of the prelude, with many traditional piano techniques. The influence of Hummel's Op. 67 on the next generations is clearly shown in the similarities in their compositions, especially the works of Chopin. This dissertation includes a formal analysis of the preludes and a discussion of each specific type of piano techniques with practicing suggestions, providing a pedagogical guide for students on how to use Hummel's works to prepare for other composers.
46

Preludes, Opp, 15, 35, and 74 of Alexander Scriabin

Buckingham, Wilna Faye 01 1900 (has links)
The five Preludes, Op. 15 were composed in the year 1897 while Scriabin was occupied in concert tours with his friend and publisher, Beliaef. This year brought no less than forty-seven short preludes written at various times and collected in five sets: Opp. 11, 13, 15, 16, and 17. These preludes, though clever and original in melody, show the great influence of Chopin on Scriabin.
47

A Stylistic Analysis of the Twenty-Four Piano Preludes by Dmitri Shostakovich / A Stylistic Analysis of the Twenty-Four Piano Preludes by Dmitri Shostakovitch

Provence, Ethelston 08 1900 (has links)
The study of the twenty-four preludes of Shostakovitch [sic] has a three-fold significance. First, it deals with a body of music literature representing important aspects of twentieth-century music. Secondly, it is an original study since no detailed analysis of these preludes has been made. Very little has been written about this collection of short pieces, and no material is available along the line of a technical, scientific analysis. Thirdly, our subject deals with a collection of compositions written by one of the foremost living composers of today, not only of Russia, but of the entire musical world -- a man who is in the public eye at present, and in whose works the Soviet ideology is reflected.
48

24 Prelúdios Op. 28 de Frédéric Chopin: Estudo sobre a interpretação da obra / -

Affonso, Gabriella de Mattos 05 April 2018 (has links)
O presente trabalho consiste no estudo dos aspectos interpretativos relacionados à execução dos 24 Prelúdios Op. 28 de Chopin. Por meio de análises musicais e bibliográficas da obra, do estudo do ciclo ao piano, bem como da comparação crítica de diferentes edições e gravações disponíveis dos Prelúdios, esta pesquisa apresenta reflexões técnico-interpretativas que envolvem a construção da performance da obra, considerando as tradições interpretativas em Chopin. Foram utilizadas fontes primárias dos Prelúdios como os manuscritos autógrafos, sketches, cópias manuscritas, primeiras edições e partituras anotadas de alunos de Chopin. As análises realizadas dos parâmetros da escrita do compositor permitiram uma melhor compreensão de seu estilo e linguagem, o que se aplica não apenas aos Prelúdios, mas também à performance de qualquer uma de suas obras. Além disso, alguns trechos dos Prelúdios foram executados em um piano histórico, Érard de cordas paralelas, para fins de contextualizar a performance e recriar efeitos sonoros semelhantes em pianos modernos, sobretudo no que se refere à pedalização. A partir disso, vários aspectos interpretativos da obra foram esclarecidos e explicitados, como a utilização do pedal longo para efeitos timbrísticos, a execução simultânea do ritmo pontuado do Prelúdio n. 9, a conotação expressiva dos acentos longos, a concepção de Chopin aos andamentos Lento, Largo, Andante e Vivace, as ocasiões em que o termo stretto não significa acelerar, a questão da fórmula de compasso original 3/2 que promove fluência ao n. 13, entre outros. Assim, o trabalho apresenta diversas possibilidades interpretativas que só foram possíveis por meio da investigação minuciosa e profunda de fontes originais e experimentação em piano de época. O trabalho divide-se em dois capítulos, sendo o primeiro referente a tópicos gerais como articulação, dinâmica, agógica (rubato), ornamentos, dedilhado, pedal e piano Pleyel. Já o segundo capítulo contempla os aspectos técnico-interpretativos dos 24 Prelúdios. / This research studies the interpretive aspects related to the performance of Chopin´s 24 Preludes Op. 28. Through the analysis of the musical text, bibliographical material, study of the piece at the piano, and comparison of different editions and recordings of the Preludes, this work offers reflections on the technical-interpretive features involved in performing the Op. 28 considering Chopin´s interpretational traditions. By using the primary sources of the Preludes such as autographs, sketches, first editions, and Chopin´s pupils annotated copies, we investigate the composer´s writing aspects in order to promote a better understanding of his musical style, which applies to the performance of the Op. 28 itself as well as any other piece by the composer. Furthermore, parts of the Preludes were played in a historical piano, a 19th century Érard with parallel strings, in order to contextualize the performance and to recreate similar sound effects in modern pianos, notably regarding pedaling. From that, several interpretive aspects of the piece were clarified and made explicit, such as the use of long pedal for color effects; the simultaneous attack for the dotted rhythmic figure in Prelude n. 9; the meaning of long accents; the composer´s conception for some tempo markings; when stretto does not mean to accelerate; the case of the originally notated time signature 3/2 in n. 13, among others. Thus, this study offers several interpretive possibilities achieved only by means of a meticulous and deep research work that investigates the original sources and experimentation in historical pianos. The study presents two chapters, the first one addressing topics such as articulation, dynamics, agogic (rubato), ornaments, fingering, pedal, and Pleyel pianos. The second chapter is dedicated to the technical-interpretive elements in the 24 Preludes.
49

24 Prelúdios Op. 28 de Frédéric Chopin: Estudo sobre a interpretação da obra / -

Gabriella de Mattos Affonso 05 April 2018 (has links)
O presente trabalho consiste no estudo dos aspectos interpretativos relacionados à execução dos 24 Prelúdios Op. 28 de Chopin. Por meio de análises musicais e bibliográficas da obra, do estudo do ciclo ao piano, bem como da comparação crítica de diferentes edições e gravações disponíveis dos Prelúdios, esta pesquisa apresenta reflexões técnico-interpretativas que envolvem a construção da performance da obra, considerando as tradições interpretativas em Chopin. Foram utilizadas fontes primárias dos Prelúdios como os manuscritos autógrafos, sketches, cópias manuscritas, primeiras edições e partituras anotadas de alunos de Chopin. As análises realizadas dos parâmetros da escrita do compositor permitiram uma melhor compreensão de seu estilo e linguagem, o que se aplica não apenas aos Prelúdios, mas também à performance de qualquer uma de suas obras. Além disso, alguns trechos dos Prelúdios foram executados em um piano histórico, Érard de cordas paralelas, para fins de contextualizar a performance e recriar efeitos sonoros semelhantes em pianos modernos, sobretudo no que se refere à pedalização. A partir disso, vários aspectos interpretativos da obra foram esclarecidos e explicitados, como a utilização do pedal longo para efeitos timbrísticos, a execução simultânea do ritmo pontuado do Prelúdio n. 9, a conotação expressiva dos acentos longos, a concepção de Chopin aos andamentos Lento, Largo, Andante e Vivace, as ocasiões em que o termo stretto não significa acelerar, a questão da fórmula de compasso original 3/2 que promove fluência ao n. 13, entre outros. Assim, o trabalho apresenta diversas possibilidades interpretativas que só foram possíveis por meio da investigação minuciosa e profunda de fontes originais e experimentação em piano de época. O trabalho divide-se em dois capítulos, sendo o primeiro referente a tópicos gerais como articulação, dinâmica, agógica (rubato), ornamentos, dedilhado, pedal e piano Pleyel. Já o segundo capítulo contempla os aspectos técnico-interpretativos dos 24 Prelúdios. / This research studies the interpretive aspects related to the performance of Chopin´s 24 Preludes Op. 28. Through the analysis of the musical text, bibliographical material, study of the piece at the piano, and comparison of different editions and recordings of the Preludes, this work offers reflections on the technical-interpretive features involved in performing the Op. 28 considering Chopin´s interpretational traditions. By using the primary sources of the Preludes such as autographs, sketches, first editions, and Chopin´s pupils annotated copies, we investigate the composer´s writing aspects in order to promote a better understanding of his musical style, which applies to the performance of the Op. 28 itself as well as any other piece by the composer. Furthermore, parts of the Preludes were played in a historical piano, a 19th century Érard with parallel strings, in order to contextualize the performance and to recreate similar sound effects in modern pianos, notably regarding pedaling. From that, several interpretive aspects of the piece were clarified and made explicit, such as the use of long pedal for color effects; the simultaneous attack for the dotted rhythmic figure in Prelude n. 9; the meaning of long accents; the composer´s conception for some tempo markings; when stretto does not mean to accelerate; the case of the originally notated time signature 3/2 in n. 13, among others. Thus, this study offers several interpretive possibilities achieved only by means of a meticulous and deep research work that investigates the original sources and experimentation in historical pianos. The study presents two chapters, the first one addressing topics such as articulation, dynamics, agogic (rubato), ornaments, fingering, pedal, and Pleyel pianos. The second chapter is dedicated to the technical-interpretive elements in the 24 Preludes.
50

Lera Auerbach’s Postmodernist Artistic Expression: The Styles of Chorale, Fugue and Postlude, op. 31 and 24 Preludes for Piano, op. 41

Kim, Inyoung 24 September 2020 (has links)
No description available.

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