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Performer's guide to Michael Tippett's The blue guitarRoman, Orlando. Brewer, Charles E. Tippett, Michael, January 2003 (has links)
Treatise (D.M.A.) Florida State University, 2003. / Advisor: Charles Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-12-07). Document formatted into pages; contains 51 pages. Includes biographical sketch. Includes bibliographical references.
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The operas of Michael Tippett in the light of twentieth-century opera aestheticsScheppach, Margaret A. January 1974 (has links)
Thesis (Ph. D.)--Eastman School of Music of the University of Rochester, 1974. / Typescript. Vita. Includes bibliographical references (leaves 536-553).
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A Study of Three Related Works by Michael Tippett: A Child of Our Time, The Vision of Saint Augustine, The Mask of TimeBolthouse, Colleen R. 12 1900 (has links)
Three works by Tippett stand together among his compositions because of their similarity of subject and performance medium. All are large works for soloists, chorus and orchestra, on meditative librettos, and intended for unstaged presentation. Only A Child of Our Time is given the genre designation "oratorio" by Tippett. An in-depth analysis of these works and the model for A Child of Our Time, Handel's Messiah, reveals that though they neither present religious subjects nor, in the case of The Vision of Saint Augustine and The Mask of Time, exhibit traditional formal divisions associated with oratorio, Tippett's works do indeed belong to the oratorio repertoire of the twentieth century.
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Michael Tippett's Piano Sonata no. 1 : A Study of His Eclectic Approach to the Sonata Form in the Twentieth Century, With Three Recitals of Selected Works by Beethoven, Bartok, Bach/Busoni, Schumann, Mozart, Ginastera, Barber and ChopinKwak, Stacy (Stacy Joo Yeon) 05 1900 (has links)
The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4).
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Michael Tippett's piano sonata No. 1: A study of his eclectic approach to the sonata form in the twentieth century, and three recitals with works by Beethoven, Bartok, Bach/Busoni, Schumann, Mozart, Ginastera, Barber, and ChopinKwak, Stacy (Stacy Joo Yeon) 05 1900 (has links)
The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4). In addition to the lecture recital given on February 1, 1999, three others were given: the first recital, on April 3, 1995, contained works by Beethoven, J.S. Bach/Busoni, and Bartok: the second recital, on February 5, 1996, included works by Schumann, Mozart, and Ginastera: and the third recital, on January 2, 1998, featured works by Barber and Chopin.
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