This thesis aims to address the subject of tempo as one of the most important components of classical music. The work consists of two parts.The first part is an overview of the aesthetic background and the factors which influence the choice of tempo in the music of the beginning of the 19th Century. It is based mostly on the testimonies of Beethoven and his contemporaries. In addition, I will briefly describe the philosophy of interpreting tempo markings at the end of the 19th and the beginning of the 20th Century. Such generalizations are possible due to the invention of recording technology at the end of the 19th Century. I shall also describe briefly the impact that recording has had on the interpretation of music.In the second, practical part of my work, I shall observe and analyze two different recordings of the first movement of Ludwig van Beethoven's First Symphony. I have chosen two of the most prominent conductors from the latter half of the 20th Century - Herbert von Karajan and Claudio Abbado. I will analyze their tempo choices throughout the chosen movement by measuring them and putting the results in a table together with remarks about the formal structure of the music.I will compare, analyze and comment on the two interpretations of these two important conductors and seek to explore the aesthetics behind their approach to tempo. I will also provide background information: factors that - consciously or subconsciously -seem to have influenced these two artists. / <p>Bilaga: 1 CD</p>

Thesis (M.A.)--Ohio State University, 1953. / Includes bibliographical references (leaves 44-46). Available online via OhioLINK's ETD Center.

No description available.

xii, 133 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Symphony orchestras operate with complex internal structures and dynamics. The connection between a symphony orchestra's organizational culture and artistic programming is undocumented in current performing arts management scholarship. This thesis hypothesizes that symphonies can enhance audience development when utilizing all members ofthe organization in making artistic programming decisions - including the staff, board, and the musicians. This research presents an in-depth case study which investigates the organizational culture and programming decision-making processes of the Eugene Symphony in Eugene, OR. The analysis demonstrates how the symphony's organizational culture affects artistic programming and subsequent audience development. This study illustrates how inherent tension within performing arts institutions can be mitigated through strong management strategies and techniques. The final chapter discusses implications and recommendations for future symphony orchestra leaders. / Committee in Charge: Dr. Patricia M. Dewey, Chair; Dr. Douglas Emerson Blandy; Dr. Harry Edward Price

The information found in the following report is based on research, personal interviews, and my personal experience during a fifteen week internship with the New Orleans Symphony. The purposes of this report are to give a comprehensive picture of the New Orleans Symphony as a nonprofit arts organization, describe my activities during the internship, and demonstrate my approach to the various challenges presented during the internship. The report begins with a profile of the organization outlining the Symphony's history, programs, goals, and the structure through which the Symphony operates and interfaces with its environment. It continues with descriptions of my experiences with the Symphony during the internship, analyses of various situations, including the major challenge of the internship, and recommendations based on these analyses. The report concludes with short and long term contributions made which were a result of the internship.

­^¤å´£­n¡G The pre-classical era is the crucial stage for the development of the symphony. At this stage, the works are plentiful but with no explicit definition and forms. Also, with the various terminologies set by composers, it causes a chaotic situation at the early development of the symphony. Therefore, this thesis focuses on the issues of symphony development in the pre-classical era and the problems caused by the uncertain terminology. The thesis consists of four chapters. Chapter One is the discussion of the relevant contexts, including the background of that era, the social status of composers, the development of the orchestra, and the forming of the core of the symphony. At the very beginning, the thesis discusses the transition of the whole society at the early eighteenth-century. Many new concepts affected by the Enlightenment were being produced at that times especially in music and the composition was diversified. What should take into consideration is the social status of the composers at that times. It is because most of them were employed by the aristocrats or bourgeoisies; hence, these composers had produced plenty of works. This affected the organization of the orchestra and the five great symphonies development. Chapter Two defines the various terminologies prevalent at the time and clarifies their conceptual differences. The origin of the term "symphony" and the meaning it represents in the pre-classical era is first presented. Then, it discusses the various terminologies step by step. Chapter Three elaborates the content of the symphony. That is the manipulation of the orchestration and of the integral elements (including movements, musical forms, texture, and harmony). The discussion is made in two areas: these musical pieces entitled "symphony" and those "non-symphony". Chapter Four concludes the discussion of the effects of the pre-classical era as well as its subsequent influences. Music terminology is extremely important. Not only it represent what music but it also gives the audience the foremost impression as well. Unfortunately, due to the inconsistency of terminology and the unconformity of the orchestration rendered to the prototype symphonies, much misunderstanding resulted. Through the orchestration and the content of works, we perceived the works in pre-classical era would be titled with a variety of terminologies. Also, they made great contribution for the composition improvement and established a good foundation for the orchestra development.

Symphony No. 1, "fall with me" is a five-movement work--approximately thirty-five minutes in duration--that explores intramusical thematic relationships through the use of cyclic themes, reminiscence motives, and an adapted version of Igor Stravinsky's "poles of attraction" concept. This is accomplished through a focus on three main musical ideas that form the basis for the entire work, as well as through the utilization of altered traditional forms in each of the movements.The instrumental forces called for in the work are as follows:Winds 3.3.3.3 / Brass 4.3.3.1 / Timp. + 3 perc. / Piano (dbl. Cel.) / Harp / Strings

Thesis (Ph. D.)--University of Rochester, 1953. / Typescript and manuscript. Vol. 2: Supplement, comprising: transcriptions of works by Giuseppe Matteo Alberti (Concerto XII), Thomas Arne ([Overtures, no. 2]), Johann Wenzel Anton Stamitz (Simphonia a quatro stromenti), Anton Filtz (Synphonia a due violini, viola è basso), Anton Wilhelm Solnitz ([Symphonies, 2 violins, viola & bass, op. 3 no. 6, E-flat major]), and Karl Friedrich Abel ([Symphony, K. 3, D major]); "Examples" cited in the text of the thesis, and "thematic index" of musical examples. Bibliography: v. 1, leaves 163-182. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5419

Inaug.-diss.--Zürich. / Lebenslauf. "Wichtigste benutzte literatur": p. [131]-133.

Inferno, Volume I of Dante Alighieri's timeless magnum opus, The Divine Comedy, persists to modern times as a work of immense imagination and philosophical poignancy. Dante, as the Pilgrim, spins in verse a massive tale wherein his fictitious self must traverse the depths of the Christian Hell with the guidance of the poet Virgil. This meditative allegory for the passage of the soul, and the nature of worldly sin, has attracted the attention of scholars and artists alike for centuries and has been the inspiration for numerous famous musical works. Dark forests, burning sands, bleeding trees, and rivers filled with muck, or fire, or ice, Alighieri's epic poem is rife with metaphors, images, and scenes that almost demand treatment as a musical narrative. Binding all of these disparate tableaus is the spiritual journey of the Pilgrim, the allegory for the passage of the self, moral conscience, and the artistic soul.