This thesis proposes a new concept of form for Boris Blacher's Divertimento for Woodwinds, Duet for Flute and Piano, and Quintet for Flute, Oboe, Violin, Viola, and Violoncello. In 1950, Blacher began to use systematically varying metric units to provide logic to the apparently arbitrary rhythm of modern music. This practice led the few scholars who have studied his compositions to concentrate on the mathematical organization of metrical units, underestimating other musical elements. This dissertation is based on the idea that it is not the mere disposition of meters, but mostly the interaction between them and other musical elements that makes the peculiar durational scheme audible, thus perceptually relevant. Following this, the technique of expansion and contraction that becomes evident in the organization of the meters is also present in the disposition of durations at other hierarchical levels and in the pitch structure. Furthermore, the mathematical metrical scheme is the foundation for a deeper universe of systematic organization. Blacher's techniques provide a unique sense of movement to his compositions, the aural effect of an "elastically developing music." In Duet and Quintet, this idea is also applied in simultaneity to the registral disposition of pitches and textural development, suggesting vertical elasticity. As a result, Blacher's late compositions suggest a replacement of the traditional concepts of form and texture with a new idea of constantly moving, elastic shape. The methodological approach of this thesis is exclusively analytical and technical, with emphasis on durational and pitch organization, form, texture, and the interaction among these aspects. The individual and comparative analysis of the three compositions reveals a consistent conception of the musical space that emphasizes its bi-dimensional quality. In the Divertimento, the unitary conception of the vertical and horizontal construction is mainly reflected in the bi-dimensional treatment of interval classes that provides coherence to the motivic structure. In Duet and Quintet, this mere idea of consistent organization of the musical materials in the horizontal and vertical dimensions of the total space becomes a unique principle of formal definition, the elastic development of the musical content itself.

Thesis (M. Phil.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

In dem Titel "wELten ERleBEn" stecken - bei Berücksichtigung der Großbuchstaben - die Wörter ERBE und ELBE. Ein Beitrag zum Welterbetag 2009, in dem die Schönheit der Landschaft sowie ihre Bedrohungen (Hochwasserkatasgtrophe 2002, Bau der Waldschlösschenbrücke) zum Klingen gebracht wird, ohne den Hörer auf eine einseitige Deutung festzulegen. Uraufführung: 6. Juni 2009 in Dresden

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Thesis (M. Phil.)--University of Queensland, 2006. / Compact disc comprises recorded performances of the compositions. Includes bibliographical references.

The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.

Although many volumes concerning the life and works of Johannes Brahms have been written, it has been found that the majority of these writings treat the material of the subject in a rather poetic and romanticized fashion. This is especially unfortunate in those volumes where the works of Brahms are analyzed with pragmatic implications, since Brahms himself eschewed the use of extramusical elements in his composition. This investigation, therefore, is an attempt to present a careful analysis of one of these compositions, the Quintet in B Minor, Op. 115, for clarinet and string quartet.

No description available.

This thesis is a critical study of three violoncello suites of Johann 8ebastian Bach from the performer's point of view. Its purpose is to determine the comparative differences and similarities of several well known editions including the Bach Gesellschaft edition and the Pablo Casals recording. It will explain a few of the many discrepancies and provide adequate reasons for given suggestions and preferences concerning dynamics, tempi, ornamentation, bowing styles, and other elements of performance. By stating a brief historical background of the evolution of the violoncello and the development of musical form and style, it is possible to conceive Bach's ideas and intentions as he wrote the collection of six suites.

published_or_final_version / abstract / Humanities / Master / Master of Philosophy