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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
11

Dérèglement passager de corps hétérogènes : le concept d'organisme musical et la métaphore du virus : étude sur les possibilités de développement organique du matériau musical

Baril, Félix Frédéric. January 2006 (has links)
Dereglement passager de corps heterogenes is a work for flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), horn, piano, violin, cello and contrabass which explores the concept of "virus" within a musical form similar to the theme and variations. During its elaboration, I imagined what could metaphorically be the effects of different virus on what I define as "musical organisms". This idea suggested a number of variations that could serve as laboratories to experiment different levels of interaction between the virus and the musical organisms. This thesis consists of the musical score and a detailed analysis.
12

The piano music of Rachmaninoff structure, form and performance problems /

Cavanaugh, Jamil Bernadette. January 1961 (has links)
Thesis (M.M.)--University of Wisconsin--Madison, 1961. / Typescript. Title from title screen (viewed Nov. 7, 2007). Includes bibliographical references (leaves [172-173]). Online version of the print original.
13

The piano music of Rachmaninoff structure, form and performance problems /

Cavanaugh, Jamil Bernadette. January 1961 (has links)
Thesis (M.M.)--University of Wisconsin--Madison, 1961. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [172-173]).
14

Dérèglement passager de corps hétérogènes : le concept d'organisme musical et la métaphore du virus : étude sur les possibilités de développement organique du matériau musical

Baril, Félix Frédéric. January 2006 (has links)
No description available.
15

Motivic development in the piano music of Karl Weigl (1881-1949).

Gray, Justin 12 1900 (has links)
In discussing the music of Karl Weigl (1881-1949), it is essential to estimate the state of research regarding the composer and his professional life. Although a copious account and collection of Weigl's papers exists at Yale University, much contribution in the form of editions, recordings, and scholarly texts is needed. Schooled by Adler, Schoenberg, and Zemlinsky, Weigl graduated from the Musikacademie of Vienna in 1899 with high honors, with later employment in the Vienna Opera as a vocal coach (where he worked with such figures as Bruno Walter, Friedrich Weidemann, and Lotte Lehmann.). A theory and composition appointment to the New Vienna Conservatory after 1918 dramatically opened Weigl's professional horizons. With the rise of anti-semitism in Nazi Germany, Weigl and his family escaped to New York in autumn 1938. Eventually, Weigl obtained positions in the Hartt School of Music, Brooklyn College, Boston Conservatory, and finally, the Philadelphia Academy of Music in 1948. Although Weigl's music has been commented upon by Stephen Davison, Wendell Davis, and Michael Kater, much literature in the form of published analysis, commentary, and biography has yet to come forward. This paper principally covers Weigl's Night Fantasies, Op. 13 as well as the 28 Variations for Piano, Op. 15 and the expressionist conventions they contain.
16

The Variations for Piano, Op. 27 of Anton Webern and the Quaderno musicale di Annalibera of Luigi Dallapiccola: A Lecture Recital, Together with Four Recitals of Selected Works of J.S. Bach, W.A. Mozart, F. Schubert, R. Schumann, J. Brahms, F. Chopin, A. Schoenberg, and M. Ravel

Bell, Digby 05 1900 (has links)
The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.
17

From Brahms to the second Viennese school

Rosado, Sara Yong. January 2005 (has links)
Thesis (D.M.A)--University of Maryland, College Park, 2005. / Compact discs.
18

A Stylistic Comparison of Aaron Copland's Passacaglia, Piano variations, and Four piano Blues: A Lecture Recital, Together with Three Recitals of Selected Works of Beethoven, Brahms, Chopin and Others

Whitten, Sammie G. (Sammie Gayle) 05 1900 (has links)
During Aaron Copland's long and productive life, he has written many compositions of distinction; among his piano compositions are the Passacaglia, Piano Variations, and Four Piano Blues. These three piano works were composed during a span of over twenty years and reflect many different influences in the composer's musical life. The Passacaglia, an early work, was written under the direction of Copland's teacher, Nadia Boulanger. It was strongly influenced by her and the French neoclassic school. The influence of jazz is most prominent in the Four Piano Blues, whereas the Piano Variations were influenced by Arnold Schoenberg and other composers of the twelve-tone school. This study contains an examination of each of three piano pieces mentioned, with emphasis upon aspects of thematic development, harmony, rhythm, and sonority; then a comparison between the pieces is made.
19

Marc-André Hamelin's "Variations on a Theme of Paganini": The Effect of Polystylism through Pastiche and Musical Borrowing in Variations

Kim, Warren 12 1900 (has links)
Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variations reach outside of Classical music, even adopting elements from salsa and friska. The spectrum of composers and styles included in this set are so radical and shocking that it creates a parody of not only Paganini's theme, but also the tradition of theme and variation pieces it has inspired. Due to its multiple variations juxtaposing extremely different styles, Hamelin's Variations on a Theme of Paganini presents the listener with a musical puzzle that is designed to invoke surprise. The juxtapositions of extremely different styles in these variations create disjointed variations with polystylism. The polystylism in this work diversifies his variations, while unifying these seemingly unbalanced movements through broad musical references. As such, both performers and listeners stand to benefit from a detailed, critical examination of the piece. I consider not just the musical sources themselves, but also the ways in which they interact, paying close attention to Hamelin's use of parody and humor.

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