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The Origin and Development of the Clavier Dance Suite to J.S. BachSmith, George Lyndal 06 1900 (has links)
A history of the evolution of dance music throughout time and the instruments used for each type of dance.
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”Alte Musik als ästhetische Gegenwart”: Versuch zur Musikwissenschaft als Interpretationswissenschaft anhand von Bachs Toccata D-Dur (BWV 912)Feil, Arnold 09 January 2020 (has links)
No description available.
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Notentext und Ausführung einer Toccata von FrescobaldiTagliavini, Luigi Ferdinando 10 January 2020 (has links)
No description available.
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A Performer’s Guide to the Six Preludes, Op. 6, and Toccata, Op. 15, of Robert Muczynski, With a Short Synopsis of Russian Influence and StyleCho, Min-Jung 20 December 2002 (has links)
No description available.
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Frescobaldis förord : Applicerat på Toccata Decima ur första bokenBaldwin Sterner, Kerstin January 2024 (has links)
Girolamo Frescobaldi levde i brytningstiden mellan renässansen och barocken. Han var en av de betydelsefulla tonsättarna som med sin musik förde in musiken i nästa epok, den tidiga barocken. Han tog intryck av tidens uttrycksfulla vokala musik, och förde in det vokala uttrycket i sin instrumentalmusik, affetto vocale. Detta vokala uttryck var något för den tiden helt nytt, varför Frescobaldi skrev ett förord till den samling med Toccator och Partitor han gav ut först 1615 vari han gav detaljerad information om hur han ville att hans musik skulle framföras. Detta förord gav nycklar till den tidens interpreter vad gäller framförandet, liksom det ger nycklar till oss idag. På en av dessa Toccator ur första bandet har jag gjort en fallstudie och applicerat de råd Frescobaldi gav på den. För mig har detta gett en djupare förståelse för den här tiden, och framför allt för Frescobaldis cembalomusik. Den har givit mig förståelse för vad som var nytt och i förlängningen givit mig verktyg för att göra en tydligare interpretation
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Fantastiska franska fantasier : Analys av Louis Viernes 24 Pièces du Fantaisie i allmänhet samt Toccata (op.53:6) och Requiem aeterman (op.51:5) i synnerhetWikström, Casper January 2024 (has links)
Louis Vierne (1870–1937) var under början av 1900-talet verksam som en av världens mest framstående organister och kompositörer. Trots att han från födseln var nästintill blind innehade han under nästan 40 år den mycket prestigefulla tjänsten Organiste titulaire vid Frankrikes mest berömda katedral Notre Dame de Paris. Viernes verksamling 24 Pièces du Fantaisie räknas idag till standardrepertoaren för orgel och i detta arbete analyseras hur tonsättarens bakgrund påverkade och inspirerade hans komponerande av verket. I studien utreds också hur man interpreterar stycket så stiltroget som möjligt och således gör tonsättaren rättvisa i största möjliga mån. Undersökningens resultat påvisar att Vierne fick inspiration till verken från sin omvärld och att hans dåliga syn hade stor inverkan på hans komponerande. Den informationen, i kombination med en redovisning av interpretationsmässiga val från framföranden av Requiem aeternam och Toccata ur 24 Pièces du Fantaisie, hjälper organisten vid sitt gestaltande av verksamlingen. / Louis Vierne (1870–1937) was active during the early 20th century as one of the world's most prominent organists and composers. Despite being almost blind from birth, he held for almost 40 years the very prestigious position of Organiste titulaire at France's most famous cathedral, Notre Dame de Paris. Vierne's collection of pieces 24 Pièces du Fantaisie is today considered as standard repertoire for the organ and this study analyzes how the composer's background influenced and inspired the music. In the study, it is also investigated how to interpret the pieces as faithfully as possible and thus do the composer justice to the greatest extent possible. The results of the study indicate that Vierne got inspiration for his work from his surroundings and that his poor eyesight had a major impact on his composing. This information, in combination with a report of interpretational choices from performances of Requiem aeternam and Toccata from 24 Pièces du Fantaisie, helps the organist when playing the collection.
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A study of J. S. Bach’s Toccata BWV 916; L. van Beethoven’s Sonata Op. 31, No. 3; C. Debussy’s Images Book One; F. Chopin’s Scherzo No. 2, Op. 31: historical, theoretical and stylistic implicationsHua, Ye January 1900 (has links)
Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s Report is a study of four piano compositions performed on April 10, 2016 at the author’s Master’s Piano Recital. These discussed pieces are including Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E-flat major, Op. 31, No. 3; Claude Debussy’s Images Book One; Fryderyk Chopin’s Scherzo No. 2, Op. 31. This study focus on historical, theoretical and stylistic implications of each composition.
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An analysis of J.S. Bach’s Partita in B flat major, BWV 825; W.A. Mozart’s Piano Sonata in D major, K.576; F. Chopin’s Mazurkas, Opus 17; A. Khachaturian’s Toccata: theoretical, stylistic, and historical backgroundKim, Jung Won January 1900 (has links)
Master of Music / Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s report analyzes four piano compositions performed on April 9, 2015 at the author’s Master’s recital. The works under consideration are Johann Sebastian Bach’s Partita in B flat major, BWV 825; Wolfgang Amadeus Mozart’s Piano Sonata in D major, K.576; Fryderyk Chopin’s Four Mazurkas, Opus 17; and Aram Khachaturian’s Toccata. This analysis includes the discussion of the theoretical, stylistic, and historical background of each composition.
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Jindrich Feld's Introduzione, Toccata E Fuga Per Flauto Solo With Three Recitals of Selected Works of J.S. Bach, Mozart, Messiaen, Berio, Martinu, Persichetti, and OthersDerby McDermott, Dennette 05 1900 (has links)
The Czechoslovakian composer Jindrich Feld (b.1925) composed Introduzione, Toccata e Fuga per Flauto Solo, for the Italian flutist Roberto Frabbriciani. Feld's Introduzione is from his third style period. This work may be labeled as a synthesis of the experiments and experiences that have enabled him to create his own mature style of expression.
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An Introduction to Selected Character Pieces for Piano by Robert MuczynskiOh, Joo Young January 2016 (has links)
Robert Muczynski (1929-2010), composer, pianist, and educator, is a noteworthy American musician from our time. His prowess as a pianist undoubtedly accounts for the striking number of pieces he wrote for the piano, namely, one concerto, preludes, sonatas, suites, a toccata, and variations. Out of a total of forty-eight pieces with opus numbers, seventeen are for solo piano. This document contains an overview of Muczynski's life as a composer and musician, with an emphasis on his solo piano compositions. The body of the document traces sources of Muczynski's compositional style, especially the influence of Alexander Tcherepnin, his composition teacher and mentor, and Sergei Prokofiev. An analysis of some of Muczynski's shorter piano solo pieces follows: Six Preludes, op. 6, Suite for Piano, op. 13, and Toccata, op. 15. This analysis demonstrates that Muczynski's short piano pieces often exhibit a persistent focus on one generative musical idea within each piece, usually consisting of unifying etude-like material. For variety and color, he relies on frequent changes of metric pulse, sudden accents, highly chromatic harmony and melody, and an extreme range of sound. These stylistic traits are consistent with those previously identified by other scholars in his larger piano compositions.
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