Inaugural-Dissertation--Berlin. / "Notenbeilage": 57 p. at end. "Literaturverzeichnis zu Kapital 1": p. 60. "Quellenverzeichnis": p. 65-67. "Bibliographie der Tanzliteratur bis 1900": p. 78-107.

Inaugural-Dissertation--Berlin. / "Notenbeilage": 57 p. at end. "Literaturverzeichnis zu Kapital 1": p. 60. "Quellenverzeichnis": p. 65-67. "Bibliographie der Tanzliteratur bis 1900": p. 78-107.

A history of the evolution of dance music throughout time and the instruments used for each type of dance.

Pang, Pui Ling. / Thesis submitted in: October 2008. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 154-169). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Grasping Genre --- p.1 / Purpose and Outline of Study --- p.1 / The Concept of Genre --- p.3 / Classic View --- p.5 / Recent Views --- p.12 / Contemporary Study of Genre in Music --- p.15 / Historical Study of Genre --- p.16 / Hermeneutic Study of Genre --- p.18 / Study of the Serenade as a Musical Genre --- p.19 / Chapter Chapter 2 --- The History of Serenade to the End of the Eighteenth Century --- p.21 / The Origin of Serenade --- p.21 / Early Serenades and the Vocal Tradition --- p.26 / Emergence of Instrumental Serenades --- p.30 / Serenades and Related Genres in the Eighteenth Century --- p.34 / Mozart 's Serenades --- p.41 / Chapter Chapter 3 --- "Intellectual, Social, and Stylistic Backgrounds" --- p.48 / Contextual Changes at the Turn of the Nineteenth Century --- p.48 / Serenades in the Early Nineteenth Century --- p.55 / Chamber Serenades --- p.55 / Serenades by Leading Composers of the Period --- p.57 / Serenades in the Operas --- p.65 / Chapter Chapter 4 --- Brahms's Serenades --- p.69 / Compositional Background --- p.69 / Music Analysis --- p.82 / "Serenade in D Major, op. II" --- p.83 / "Serenade in A Major, op. 16" --- p.92 / Brahms's Borrowings --- p.98 / Instrumentation and Tonal Plan --- p.100 / Early Reception --- p.103 / Chapter Chapter 5 --- Serenades in the Late Nineteenth Century --- p.109 / Serenades for Orchestra --- p.110 / Volkmann and His String Serenades --- p.113 / "String Serenades of Dvorak, Tchaikovsky, Suk，and Elgar" --- p.118 / "Dvorak's Wind Serenade in D Minor, op. 44" --- p.123 / Serenade as a “Miniaturéح Symphony --- p.125 / Other Serenades --- p.130 / Single-movement Serenades for Orchestra --- p.131 / Serenades for Chamber Ensemble --- p.133 / Serenades for Solo Piano --- p.135 / Chapter Chapter 6 --- Grasping the Elusive Serenade --- p.139 / The History of the Serenade Revisited --- p.139 / Brahmśةs Role in Shaping the Serenade --- p.141 / Brahms's Invitation to Form --- p.143 / The Generic Web --- p.144 / Appendix Serenades in the Late Nineteenth Century --- p.147 / Bibliography --- p.154

There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.

No description available.

The lecture recital was given on August 9, 1974. Chorale partitas by Sweelinck, Scheidt, B051hm, and Walther were performed following a lecture on the chorale partita in the Baroque period. The lecture included a discussion of the instruments that the partitas were written for and the functions for which they were written. The works of Sweelinck and Scheidt and their influence on later composers were discussed. A number of lesser-known composers and their works were mentioned. Also, there was a discussion of works by well-known composers such as Bohm, Pachelbel, Buxtehude, Walther, and Bach. In addition to the lecture recital, three other public recitals were performed, all of which consisted of solo compositions for the organ. The first solo recital, including works of Buxtehude, Bach, Walther, Pepping, ?ranck, Alain, and Durufle, was performed on July 18, 1971. On August 13, 1972 the second solo recital was performed. Compositions by Greene, Stanley, Searle, Willan, Dandrieu, Roger-Ducasse, and Langlais were included in the program. The third solo recital, which included works by Sweelinck, Bach, Guillou, and Reubke, was performed on June 5, 1974. The four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation.

Orientador: Eduardo Augusto Östergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T23:43:20Z (GMT). No. of bitstreams: 1 Arrais_GersonStencel_M.pdf: 4019246 bytes, checksum: 050b7c35c73fecadbe563308795123fd (MD5) Previous issue date: 2011 / Resumo: O presente estudo tem por objetivo principal a apresentação de aspectos interpretativos concernentes ao preparo, pelo regente, da First Suite in Eb op. 28 No. 1 de Gustav Holst, através de um processo que inclui: contextualização histórica da obra e do compositor, análise musical e propostas interpretativas. No primeiro capítulo é apresentada a evolução das bandas militares inglesas até o início do século XX, período da composição da peça. O segundo capítulo mostra a relação do compositor com as bandas militares e como esta composição influenciou todo o repertório de Banda Sinfônica. A análise musical é o tema do terceiro capítulo, que traz a discussão sobre o termo chaconne, além de análises temática, formal, harmônica, de texturas e rítmica. No quarto capítulo são apresentadas questões interpretativas que dizem respeito a edições da partitura, ajustes e soluções para diferentes possibilidades de numerário instrumental, bem como sugestões metronômicas, questões expressivas e disposição dos naipes da banda para a interpretação da obra estudada. O presente estudo poderá também servir de modelo sugestivo ao regente de Banda Sinfônica no preparo interpretativo de obras para esta formação / Abstract: This study's main objective is to present interpretive aspects concerning to the preparation, by the conductor, of the First Suite in Eb op. 28 No. 1 by Gustav Holst, through a process that includes: historical background of either work and composer, musical analysis and interpretive proposals. The first chapter presents the evolution of British military bands until early twentieth century, when the piece was composed. The second chapter shows the composer's relationship with military bands and how this composition has influenced the whole Symphonic Band repertoire. Musical analysis is the theme of the third chapter, which brings up a discussion about the term chaconne, it also presents thematic, formal, harmonic, textural and rhythmic analysis. The fourth chapter presents interpretive issues concerning score editions, adjustments and solutions for different possibilities in instrumental settings, as well as metronome suggestions, expressive issues and band seating arrangements. This study may also provide suggested model for the Symphonic Band conductor for preparation of works for this medium / Mestrado / Praticas Interpretativas / Mestre em Música