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AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINORSeebacher, Robert J 01 January 2014 (has links)
The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.
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Concerto n.º 1 para Violino e Orquestra de M. Camargo Guarnieri: aspectos históricos, estéticos e temático-motívicos.Lemos, Lara Venusta de Almeida 30 November 2009 (has links)
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Previous issue date: 2009-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The purpose of this research was to study the Concerto no. 1 for Violin and Orchestra
by Camargo Guarnieri. One of its main goals was the search for elements of the Brazilian
musical nationalism present in this work. Thus, in order to achieve this first goal, an analysis
was done based on the Ensaio sobre a música brasileira by Mário de Andrade. Where the
author gives the guidelines on which nationalists composers should follow, in order to
compose Brazilian music with national traits. Therefore, we could verify the presence of
several elements of the nationalistic aesthetic employed by Guarnieri in this concerto.
This study had as primary source the musical score of the concerto in digital format,
provided by the Camargo Guarnieri Archive, which belongs to the Institute of Brazilian
Studies, in São Paulo. It was also verified the content of the digital media entitled Camargo
Guarnieri 3 Concertos for Violin and the Mission , which contains the first DVD recording of
Guarnieri s works for violin and orchestra. During the research a biographical study was
done, focusing on relevant facts of Guarnieri s life right before and after the composition of
this concerto. Based on this information, we verified that the Concerto no.1 was the beginning
of a very important period in his professional life.
This research also takes into consideration the analysis of the compositional style
employed by Guanieri in this concerto. We have observed the use of compositional elements
inherited from the European tradition combined with elements from the Brazilian popular
culture. We have also noticed the presence of musical instruments, scales, rhythms and
melodic fragments that are characteristics of some popular melodies. These elements were
carefully selected, which allowed us to show their use in several passages in which Guarnieri
placed them. This study also focused on the observation of the formal structure and the
thematic and motivic development employed by Guarnieri in all three movements of this
concerto. This research culminated with a performance edition of the work for violin and
piano based on the manuscripts. / Este trabalho objetivou o estudo do Concerto n.º 1 para Violino e Orquestra de
Camargo Guarnieri, tendo como uma de suas principais metas a busca por elementos do
nacionalismo musical brasileiro presentes nesta obra. Para alcançar este primeiro objetivo foi
feita uma análise, com base no Ensaio sobre a música brasileira de Mário de Andrade,
sobre as diretrizes que os compositores nacionalistas deveriam seguir para comporem música
brasileira com características nacionais. Desta forma, pudemos constatar a presença de vários
elementos da estética nacionalista usados por Guarnieri na composição da obra estudada.
O estudo teve como fonte primária, o manuscrito do concerto em cópia digital cedida
pelo Arquivo Camargo Guarnieri, Instituto de Estudos Brasileiros, São Paulo. Foi também
verificado o conteúdo existente na mídia digital Camargo Guarnieri 3 Concertos para
Violino e a Missão , que representa a primeira gravação em DVD da obra de Guarnieri para
violino e orquestra. Durante a pesquisa foi realizado um levantamento biográfico sobre alguns
fatos ocorridos na vida de Guarnieri, referentes ao período anterior e posterior ao da
composição deste concerto. Diante desses dados, verificou-se que o Concerto n.º 1 foi o início
de uma fase de significativas conquistas na vida do compositor.
Outro ponto de destaque desta pesquisa refere-se à análise do estilo composicional de
Guarnieri neste concerto. Verificamos a presença de elementos composicionais herdados da
música européia, em perfeita harmonia com os elementos de nossa cultura popular.
Constatamos no concerto a utilização de instrumentos, escalas, ritmos e reminiscências
melódicas que são características de certas melodias populares. Estes elementos foram
cuidadosamente selecionados e foi possível demonstrar o seu uso nos vários trechos em que
Guarnieri os inseriu. Este estudo também teve como foco, a observação da estrutura formal
empregada por Guarnieri e o tratamento dado ao desenvolvimento temático e motívico nos
três movimentos do concerto. A pesquisa teve o propósito de fazer uma edição da parte do
concerto no formato para violino e piano a partir de seus manuscritos.
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A study of the Violin Concerto in D Minor by Ralph Vaughan WilliamsKim, Si Hyung 05 1900 (has links)
The focus of this study is to provide a clear understanding of Vaughan Williams' Violin Concerto in D Minor. In terms of form and compositional technique, this concerto is particularly challenging, because of Vaughan Williams' use of rhythmic motives and modes. This study is undertaken through an analysis. For a better understanding, a historical background, including overall form of each movement and key relationships, is explored and discussed. Then, Vaughan Williams' use of a ritornello-like motive, melody and modality as unifying elements is also identified and examined. In identifying the major features of Vaughan Williams' compositional style of this violin concerto, musicians will be able to understand better his unique musical expression. This study may serve as an introduction to the music of Vaughan Williams for musicians and society worldwide. It is hoped that it will motivate all violinists to perform this concerto more frequently.
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AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCEPHELAN, VINCENT J. 19 July 2006 (has links)
No description available.
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Shards of Silence: A Study of Unsuk Chin's Violin Concerto No. 2, "Scherben der Stille" (2021)Kim, Yeji 05 1900 (has links)
The purpose of this dissertation is to introduce Violin Concerto No. 2, "Scherben der Stille" (2021) by Unsuk Chin (b. 1961), a South Korean composer based in Berlin. This violin concerto creates a sonic drama. The sound material of this work resembles a "shard," as the subtitle of the work suggests: Shards of Silence. Through this work, Chin shows how music can deliver her dreams and fantasies through unconventional use of instruments and sounds. The dissertation includes a brief biography, observations on the composer's significant works and compositional style, and an overview and analysis of the work. Despite the increasing popularity of Violin Concerto No. 2, the piece has never gained scholarly attention. This writing should also contribute to the available sources about the composer Unsuk Chin and to the study of complex contemporary music that may seem resistant to formal analysis by analyzing its constituent fragments.
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Late Eighteenth-Century English Violin Concertos: A Genre in TransitionSiu, Eric 24 July 2013 (has links)
Classical violin concertos by English composers are relatively obscure nowadays, as the genre is largely monopolized by Mozart’s last three concertos. This study explores the compositional and violinistic traits of ten English concertos from the late eighteenth century, as well as the social and cultural circumstances under which they were written. These concertos are challenging violinistically, suggesting that they were primarily intended as virtuosic showpieces. In addition, a number of the concertos display musical eccentricities that hint at the quirky personalities of their composers. In some respects, these concertos are unadventurous, particularly in terms of harmony and thematic contrasts. However, they contain a number of unique compositional features that are worthy of our attention. The most notable of these is the incorporation of Baroque features in a large number of the concertos, despite their general adherence to the new galant style. All evidence suggests that the two styles were combined deliberately as a compositional technique, and this is perhaps the most distinctly “English” characteristic of these concertos.
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Kognitiv beteendeterapi i musikalisk övning : Kognitiv beteendeterapi som verktyg i en musikalisk övningssituation – en hermeneuetisk fallstudie med fokus på Felix Mendelssohns violinkonsert i e-moll op.64Sperling Bäckström, Siri January 2020 (has links)
Kognitiv beteendeterapi (KBT) bygger på teorier kring människans tankar, känslor och beteenden. Det är ett samlingsbegrepp för metoder som utformats för att hjälpa människor att förändra problematiska beteenden. Inledningsvis sammanfattas de begrepp som är relevanta för studiens syfte. Statistik visar att psykisk ohälsa är vanligt förekommande hos klassiska musiker. Syftet med studien var att undersöka hur KBT kan användas för att uppnå ändamålsenliga beteenden i musikalisk övning och fungera som ett hjälpmedel för att hantera problem. Studien byggde på en hermeneutisk grund. Materialet bestod av självobservationer från instudering av Mendelssohns violinkonsert. Dessa tolkades ur ett KBT–perspektiv för att besvara syftet. I resultatet visas integrerandet av KBT–interventioner i form av konkreta exempel där interventionen utformats för att bemöta ett problem i instuderingen. I studiens diskussion analyserades resultatet i form av vilken effekt KBT–interventionerna haft i den musikaliska övningen. / Cognitive Behavioral Therapy (CBT) is based on theories about thoughts, feelings and behaviors. It’s a collective term for methods that serve the purpose of helping people with problematic behaviors. In the introduction the relevant concepts for the study are summarized. Statistics show that mental distress among classical musicians is common. The purpose of the study was to examine how CBT can be applied in order to reach effective behaviors in musical practice and serve as a tool for managing problems. The basis of the study was hermeneutic. The material consisted of self-observations from the study of Mendelssohn violin concerto. These were analyzed from a CBT-perspective to answer the purpose. In the result the integration of CBT-interventions can be viewed in terms of concrete examples where the interventions have been formed to respond to a problem in the practice. In the discussion of the study the result has been analyzed according to what effect the CBT-interventions have had in the musical practice.
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Život a dílo Dmitrije Šostakoviče se zaměřením na Houslový koncert č. 1 op. 77 a Smyčcový kvartet č. 8 op. 110 / Life and Work of Dmitrij Shostakovich with Focus on His Violin Concerto No. 1 op. 77 and String Quartet No. 8 op. 110Macháček, Jakub January 2017 (has links)
This diploma thesis deals with Dmitry Shostakovich and his works. Its aim is to map the life of the composer and to further characterize his two works, Concerto for Violin and Orchestra No. 1 a minor op. 77 and String Quartet No. 8 in C minor op. 110. The thesis is divided into three chapters. The first chapter is about composer's life in the difficult living and creative conditions of the Soviet Union of that time and about selected compositions of his. In the following two chapters, the analyzes of the two above-mentioned works and the historical context in which they were create are presented. The thesis also provides an interpretative analysis of the Concerto for Violin and Orchestra No. 1 a minor, which is also an interpretative comparison of the concert recordings of David Oistrach and Julian Rachlin.
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