Global ETD Search

1	The life and works of Sarah Harriet Burney (1772-1844) Gardner, Lynn Mary January 1999 (has links) No description available. 800
2	The Lieder of Emilie Mayer (1812-1883) January 2020 (has links) abstract: ABSTRACT Emilie Mayer (1812-1883) was a prolific composer whose musical works, which encompassed eight symphonies, four overtures, an opera, dozens of sonatas, eight string quartets, solo piano works, and nearly 130 songs for solo voice or vocal quartet, were performed in the foremost concert halls in Berlin and across Germany. She studied with lauded teachers: Carl Loewe (1796-1869), Adolph Bernhard Marx (1795-1866), and Wilhelm Wieprecht (1802-1872). Her talent was applauded by audiences and critics wrote favorably, despite their reservations about women composers. However, even with this unusual pedigree, Mayer’s works nearly disappeared from concert stages after her death. How did this happen? This study aims to answer this question and will delve into Emilie Mayer’s life and works in context with the prejudices against female composers at the time, in order to determine how those biases have shaped the classical canon. Included is an in-depth stylistic analysis of Mayer’s surviving seven Lieder, along-side comparisons to similar works of other composers. In addition, appendices present Mayer’s remaining Lieder in a new, modernized edition, with selected songs transposed for better accessibility for lower voices. Relative lack of female representation in modern-day concert halls and music history books correlates to previous misconceptions of female composers. Studying the works of Emilie Mayer will support her addition to the classical repertoire, help correct the male-gendered canon that persists, and help modern female composers realize their history is not confined to a footnote. / Dissertation/Thesis / Doctoral Dissertation Music 2020 Music Music history Musical composition Canon Romantic Era Women Composers
3	A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile Arenas, Erick G. 08 1900 (has links) 189 p. / Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception. 19th century music 19th century France Sacred music Romantic era St. Cecilia Mass
4	Sturm und Drang: A Term in Crisis Weekley, Peyson 02 May 2022 (has links) No description available. Music Literature music and literature C. P. E. Bach Haydn Beethoven Empfindsamkeit Classic era Romantic era symphony topic theory semiotics style musicology music history
5	Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia” Gonzalez, Shelly S 25 March 2014 (has links) The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.” In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance. In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.” English Literature English Literature Poetry Literary Analysis Anti-Romance Romance William Shakespeare Shakespeare John Keats Keats Keats's Letters King Lear Lamia Sir Philip Sidney Sidney Aesthetic Development Poetic Development Renaissance Romantic Era Drama Classic Literature Intertextuality Literary Influence Literary Development Genre Literary Sources Literary Origins Tradition Experiment Pastoral Anti-Pastoral English Language and Literature Literature in English, British Isles
6	A Selection of Nineteenth Century Trumpet Literature for Low F Trumpet: A Performance Edition of F.G.A. Dauverné's Variations op. 3 and Amilcare Ponchielli's Concerto per Tromba e Banda op. 123 Monroe, Jonathan 05 1900 (has links) This dissertation presents a performance guide of two solos for early valved trumpet, as well as an appraisal of their historical significance. The first of these solos is F. G. A. Dauverné's Variations pour trompette à pistons avec accompagnement de Piano-forte, op. 3 (1833). The second solo examined is Amilcare Ponchielli's Concerto per Tromba e Banda, op. 123 (1866). Although Ponchielli's work dates from only the middle of the century, by time of its composition the valved trumpet had already been developed enough to have attained true artistic value. This dissertation provides evidence concerning the evolution of nineteenth solo literature for the Romantic trumpet by means of formal analysis in regard to form, harmony, and historical performance practice. Trumpet 19th century repertoire Romantic Era Low F trumpet Trumpet music -- History and criticism. Variations (Trumpet and piano) Concertos (Trumpet with band) Academic theses
7	Rozpoznání hudebního slohu z orchestrální nahrávky za pomoci technik Music Information Retrieval / Recognition of music style from orchestral recording using Music Information Retrieval techniques Jelínková, Jana January 2020 (has links) As all genres of popular music, classical music consists of many different subgenres. The aim of this work is to recognize those subgenres from orchestral recordings. It is focused on the time period from the very end of 16th century to the beginning of 20th century, which means that Baroque era, Classical era and Romantic era are researched. The Music Information Retrieval (MIR) method was used to classify chosen subgenres. In the first phase of MIR method, parameters were extracted from musical recordings and were evaluated. Only the best parameters were used as input data for machine learning classifiers, to be specific: kNN (K-Nearest Neighbor), LDA (Linear Discriminant Analysis), GMM (Gaussian Mixture Models) and SVM (Support Vector Machines). In the final chapter, all the best results are summarized. According to the results, there is significant difference between the Baroque era and the other researched eras. This significant difference led to better identification of the Baroque era recordings. On the contrary, Classical era ended up to be relatively similar to Romantic era and therefore all classifiers had less success in identification of recordings from this era. The results are in line with music theory and characteristics of chosen musical eras.

1

Page generated in 0.0658 seconds