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Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra (2003): A Phenomenological and Traditional Analysis of the Concerto with Consideration of its Stylized Venezuelan Folk RhythmsMelendez, Melissa Sybel January 2006 (has links)
The purpose of this lecture-recital document is to provide an overview of the musical form and stylized rhythms present in Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra, his last symphonic composition to date. Castellanos-Yumar has repeatedly stated that he creates in his music a link between "the Venezuelan" and "the Universal" through traditional musical forms. The core of this document is my analysis of the Concerto for Viola and Orchestra through the composer's phenomenological approach to music, which successfully integrates a traditional musical form, such as the Concerto, with stylized Venezuelan folk rhythms in order to bring "the Venezuelan" into "the Universal". Also, it includes an overview of nationalism in Venezuelan music, an updated biography, a list of works of the composer, and an introduction to phenomenology, its application to music and its relation to the work of Gonzalo Castellanos-Yumar, specifically his viola concerto.
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Structure and Meaning in Schnittke Analysis: Oppositional Functions in the Viola ConcertoEmerson, Christa Marie 06 November 2009 (has links)
No description available.
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Information and imagination as sources of interpretation : the performer's procedures applied to Telemann's Viola Concerto in G MajorDeBolt, Katharine Gerson January 1965 (has links)
No description available.
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Concerto for viola and orchestraDempster, Thomas Jefferson 02 December 2010 (has links)
Completed in early 2010, the Concerto for Viola and Orchestra is a major foray into composing a concertante
work for the viola, an instrument without the rich history of concertos of the violin or ‘cello. In three movements, the
Concerto employs a diversity of compositional techniques for the viola and explores the timbral possibilities for the
orchestra. The work derives primarily from the series of initial gestures in the viola, and, in the span of over forty
minutes, as many possible permutations on these ideas are explored throughout the solo instrument and orchestra.
Following the score of the work is a theoretical analysis of the piece, including a condensed history of the viola
concerto as a genre. Within this examination, issues concerning approaches to deconstructing a 21st-Century orchestral
work are discussed alongside structural, melodic, motivic, and orchestrational analyses. / text
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A Performance Guide to Franz Anton Hoffmeister's Viola Concerto in D Major with an Analytical Study of Published CadenzasSu, Chiu-Ching 06 August 2010 (has links)
No description available.
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A Historical Technique from a Modern Perspective: The Transcription Scordatura in Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364Chiang, I-Chun 30 September 2010 (has links)
No description available.
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Edition of selected orchestral works of Sir John Blackwood McEwen (1868-1948)Mitchell, Alasdair James January 2002 (has links)
This doctoral presentation consists of the preparation of critical editions of eight orchestral works by J.B. McEwen: Symphony in A minor (1895-99), Viola Concerto (1901), Coronach (1903), The Demon Lover (1907-08), Grey Galloway (1908), Solway, A Symphony (1911), Hills 'o Heather (1918), and Where The Wild Thyme Blows (1936). In the absence of any monograph on McEwen there is a chapter which brings together for the first time the biographical information that can be culled from various sources; some, like the correspondence between Henry George Farmer and McEwen in the late 1940's, has never been discussed before. A separate chapter surveys the collection of McEwen manuscripts held at Glasgow University Library, its condition, the extent of it, and how it came to be housed there. There follows a discussion of each of the selected works from the point of view of the editorial issues relating to them and also some aspects of McEwen's stylistic development. It was important to McEwen that a composer spoke in his native voice through his music as is evident in a letter he wrote to H.G. Farmer in 1947(1). Discussion of this aspect of his expressive style is therefore helpful in understanding his development from the early Symphony in A minor of 1895-99 to his last orchestral work, Where The Wild Thyme Blows of 1936. Such a stylistic study is secondary to the main thrust of the thesis which is a critical edition, but it is necessary in order to fully understand the complex issues involved in making McEwen's last orchestral work performable. Where The Wild Thyme Blows was left incomplete and the present editor has made a performing version. There is a brief concluding section which consolidates evident features of the McEwen manuscripts which would be useful for further studies of these papers. Each of the selected works is presented as a separate volume in a scholarly edition with full critical commentary given at the end of each volume. (1) Glasgow University Library catalogue n.MS Farmer 217
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