Denne oppgaven utforsker forbedringspotensialet i musikknotasjonen til to samtidsmusikk komposisjoner. Oppgaven er vinklet gjennom en klassisk skolert cellist med erfaring innom samtidsmusikk. Cellisten observerer problemer som oppstår under innstuderingen og prøver å løse dem gjennom kunnskap fra design, notasjonspraktikk og perseptuell psykologi. Cellisten former en ny utgave av komposisjonene via dialog med komponistene. Til slutt drøfter cellisten hvilken forskjell endringene gjorde. / This thesis explores the possibilities of improvement in the musical notation of two pieces of contemporary music. The work is viewed through a classical trained cellist with experience in contemporary music. The cellist examines the problems encountered during rehearsal of the compositions and tries to find the root of the problems through principles of design, notation and perceptual psychology. A new version of the score is formed through dialogs between the cellist and the composers. The cellist discusses in the end whether the changes had an effect or not.

The initial composition of the Fifth Symphony in E-flat Major, Op. 82 was undertaken as a commission to celebrate the composer's fiftieth birthday. Unhappy with the initial efforts, two revisions were then performed; the first was in 1916 and the final revision in 1919. Despite the larger form of the work seeming to have been changed between the 1915 and 1919 versions, the smaller gestures of thematic expression in both versions remained similar. On the surface, it had appeared that the composer had eliminated a movement, changing the 1919 version into a three movement form. This view was not challenged by the composer at the time, and since the earlier versions had either been withdrawn or destroyed, there was no way to compare the original efforts to the final product until recently. In comparing the 1919 version to the original, a definite strong parallel can be seen between the two - despite the changes to form, rearrangement of melodic material, and the seemingly different number of movements. However, the parallel is enough that the 1915 version can be a guide to classifying the 1919 version, an act that has eluded many scholars since the 1920s. Most importantly, comparing the two versions shows that the 1919 version is not a three movement form at all; it is a four movement form that is obscured by the connection of the first and second movements by a thematic bridge that contains elements from both movements, but is not placed within either structure.

This study explores Sibelius's last and, perhaps, most enigmatic Symphony from historical (source-critical), Schenkerian, and transtextual perspectives. Through a detailed study of its genesis, musical architecture, and meaning, the author maintains that the Seventh, its composer, and its generative process, can best be understood as a series of verges: conceptual points of interaction between two or more forces. Verges between Sibelius's nature mysticism and the dramatic biographical circumstances of the period (1914-1924), between inspired and reasoned modes of composition, between genres (symphony and fantasy), between various form types, between tragic despair and hopeful yearning, between innovation and classicism, and between a host of other seeming oppositions, all define the Seventh Symphony and illuminate various facets of the composer's life and thought.

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Thesis (doctoral)--University of Bristol, 1993. / BLDSC reference no.: DX181689.

Övning är något som är aktuellt för alla musiker. Det har skrivits och forskats en hel del kring övningsmetodik, men det är oftast genom experimenterande som man hittar de för sig bästa övningsmetoderna. Med detta projekt fick jag chansen att djupdyka i övningsmetodik i ett försök att hitta nya, effektiva sätt att nå mina mål. Dessutom ville jag undersöka hur man genom det man gör utanför övningsrummet kan inverka positivt på övandet. Under detta projekt hade jag stort stöd av litteratur, kunskap från min instrumentallärare och egna tidigare erfarenheter. Under projektets gång kom jag fram till insikten att det inte finns en övningsmetod som passar alla musiker eller som kan appliceras på alla verk. Det gäller att skapa en så mångsidig och bred verktygslåda som möjligt, för att sen kunna välja ut de för situationen mest passande verktygen. Därtill är det fullt möjligt att ge sig själv bättre förutsättningar i övningsrummet genom det man gör utanför. Motion och vila tillhör grundstenarna. Min förhoppning är att detta projekt kan inspirera till ökat experimenterande i övningsrummet och väcka en nyfikenhet för nya metoder. Dessutom hoppas jag på en öppnare diskussion kring övningsmetodik, så att det blir lättare för oss att dela med oss av det vi kan och på så sätt lära oss av varann. / <p>Sonatin för violin och piano i E-dur, Op. 80 - J. Sibelius</p><p>Violinsonat nr. 1 i D-moll, Op. 75 - C. Saint-Saëns </p><p></p><p>Medverkande musiker:</p><p>Emma Dahl - violin</p><p>Mårten Landström - piano</p>

Many of the early writings and lectures of the German phenomenological philosopher Martin Heidegger involve investigations into the question of Being. An important part of these investigations is his examination of how we go about the everyday business of existing--doing our jobs, dealing with things in our environment, working through problems, thinking, talking--and what our ways of operating in these everyday activities tell us about our Being in general. Musicians have their own everyday musical tasks, two of the most prominent of which are composing and performing. Composers and performers, like everyone else, have a 'world'--Heidegger's word for the structure of relationships between equipment, persons, and tasks and the way in which a person is situated in that structure--and that 'world' allows them to cope with their musical environment in ways that enable them to make music as composers and performers. Analyzing music is an activity that a Heideggerian approach sees as derived from the primary musical activities of composing and performing. A music analyst trades the possibility of primary musical involvement for a kind of involvement that points out determinate characteristics; hence in adopting an analytical stance, the analyst trades doing something musical for saying something about music. In making such a trade, however, a prior musical involvement--a basic musicality--is always presupposed. Every way of analyzing music has its own way of making determinations, and after detailing the manner of the derivation of the general analytical attitude, this study examines several types of analysis and the ways in which they exemplify the derivative nature of analytical activity. One extended example, an analysis of Jean Sibelius's The Swan of Tuonela, provides several opportunities for discussion (via interspersed passages of commentary) of a view of music analysis drawn from Heideggerian phenomenology.

This master's thesis is dedicated to life and work of the most famous finnish composer Jean Sibelius. The work follows composers life from youth to the old age in Ainola, his composition and legacy. There are also basic information about evolution of Finland and development of music history, including significant music events and finish music education.

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No description available.