The Czech organist Michael Bártek presents the thesis Richard Wagner and the organ. Penetration of the Work of the Genius from Bayreuth into the Music for Organ as a graduate master thesis in studies on musical faculty of the Academy of Performing Arts in Prague. This thesis concerns itself with the relationship between Richard Wagner and the organ, a relation which is, despite no specific composition from the maestro for organ, surprisingly rich, and which seems thus far unexplored. Considering the impending bicentenary of the composer (and the 130th death anniversary), the theme deserves to be elaborated on. The author reviews the direct relationship of Wagner and the organ, with his influences on composers for organ, as with, for example, the issue of transcription, at first more general, later more focused on Wagner.

Orientador: Milton Jose de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-29T06:00:08Z (GMT). No. of bitstreams: 1 Accioly_Godiva_M.pdf: 230455 bytes, checksum: 3a0aaf061da40d69af9091647a616675 (MD5) Previous issue date: 2001 / Mestrado

Orientador: Alcides Hector Rodriguez Benoit / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T18:44:55Z (GMT). No. of bitstreams: 1 D´Avila_LeandroMacedo_M.pdf: 696450 bytes, checksum: a33685ce310bbe81688f847e2e91cddf (MD5) Previous issue date: 2012 / Resumo: O presente trabalho visa abordar as referências que concorreram para a formação do pensamento do jovem Nietzsche, durante período em que esteve profundamente ligado ao compositor Richard Wagner e à filosofia de Schopenhauer, com especial ênfase nas questões que se relacionam aos temas música e palavra e suas implicações dentro da filosofia do autor / Abstract: The present work approaches the references that competed to the formation of the philosophy of the young Nietzsche, during the period that he was profoundly connected to the composer Richard Wagner and the writings of Schopenhauer, with special emphasis on the subjects of muisc and words and their implication in Nietzsche's toughts / Mestrado / Historia da Filosofia / Mestre em Filosofia

Orientador : Alcides Hector R. Benoit / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T11:22:57Z (GMT). No. of bitstreams: 1 Silva_IracemaMariadeMacedoGoncalvesda_D.pdf: 9697304 bytes, checksum: c7d0ebf57dc21631d476e887f5796043 (MD5) Previous issue date: 2003 / Resumo: Trata-se de um estudo das interpretações de Richard Wagner e Nietzsche sobre a "época trágica" e da investigação que fizeram, em suas respectivas obras, acerca do vínculo da posteridade com a arte grega. Tendo como fio condutor a relação com a Grécia, analisa-se também as razões filosóficas do companheirismo e do posterior rompimento teórico entre Wagner e Nietzsche / Abstract: lt concems a study on both Richard Wer's' and Nietzsche's interpretations on the "tragic age". In addition, it involves the investigation they had done in their respective work regarding the li* between posterity and the Greek art. Utilizing the relationship with Greece as a point of reference, the work also analyses the philosophic reasons for the ftiendship and subsequent theoretical rupture between Wagner and Nietzsche / Doutorado / Doutor em Filosofia

Wagner's second opera Das Liebesverbot, composed in 1835 and first performed in Magdeburg in 1836, could be termed Wagner's "Italian" opera. It represents Wagner's attitudes and feelings at the time of its composition. During this period in Wagner's life the composer had become particularly enchanted with Italian music and also with the Italian way of sensuous and carefree living. At the same time his disillusionment with German conservatism and pedantry also had an influence on the composition of this opera.

The ancient Germanic god that Richard Wagner resurrected in his operatic style Der Ring des Nibelungen was worshiped and feared from Greenland to Asia Minor for 1,000 years after the birth of Christ. This thesis examines the psychological aspects of Wotan as he appears in the opera.

Traditional scholarship has stated that the serpent and ophicleide (as well as their successor, the tuba) were developed and added to the standard orchestra to add a bass voice to the brass, allowing a tonal compass to match a similar downward expansion in the strings and woodwinds. A closer reading of the earliest scores calling for these instruments reveals a more coloristic purpose, related to timbre as much as to compass. Indeed, the fact that composers rarely wrote for serpent and ophicleide makes two points: it proves them to be inadequate choices as a brass bass, and when they were called for, they had an expressive, often descriptive purpose. Despite his conservative musical education supervised by Carl Friedrich Zelter, the seventeen-year-old Mendelssohn, under the influence of A. B. Marx, used the Corno inglese di basso, an upright version of the serpent, in his Overture to A Midsummer Night's Dream to give a more rustic flavor to Bottom's ass-braying. Even when the English bass horn functioned as a bass voice, it was playing in contexts that were descriptive, where it often demonstrated its musical inadequacy. Berlioz's descriptive writing for the serpent and ophicleide are well known. A remarkable feature which Symphonie fantastique shares with works by the other composers is the confidence Berlioz showed in the ophicleide's functional independence by occasionally giving it an arpeggiated figure while the rest of the orchestra sustains the chord. Wagner's writing for the serpent and ophicleide in Rienzi follows the less imaginative conventions of French grand opera. In Der fliegende Holländer the ophicleide, while not used as descriptively as Mendelssohn and Berlioz, nevertheless contributes significantly to Wagner's emerging focus on the inner lives of his characters and expressive commentary on the stage action. Tubists should consider the expressive implications and the unique timbre of these instruments when performing works originally written for the forerunners of the tuba.

The thesis deals with the first comlete presentation of Wagner´s opera cycle The Ring of the Nibelung in the National Theatre in Prague. It introducts the author´s life and his relation to Bohemia and Czech music. Further on it deals with the mythological theme of the Ring and philosophical reflections of its ending. The thesis culminates with analysis of each opera of the cycle presented in the National Theatre in Prague, evaluation of the production and its contribution to Czech culture.

No description available.

Orientador: Oswaldo Giacoia Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T02:06:35Z (GMT). No. of bitstreams: 1 BurnettJunior_HenryMartin_D.pdf: 23021991 bytes, checksum: dc3a1363d4eb661254a7790c51279beb (MD5) Previous issue date: 2004 / Resumo: A pesquisa oferece um estudo abrangente do pensamento estético de Nietzsche, a partir da defesa de uma perspectiva redentora da música dentro de sua obra. Para isso, analisa um conjunto abrangente de seus escritos, que vai desde os textos de juventude escritos antes da publicação de seu primeiro livro, O nascimento da tragédia (1872), até as obras de maturidade, como O caso Wagner (1888), incluindo neste conjunto os chamados fragmentos póstumos e a correspondência. Desde os primeiros esboços redigidos na década de 1860, o material musical foi utilizado por Nietzsche como fonte de reflexão e como aparato crítico, um trabalho de audição e reflexão que o acompanhou por toda vida. Embora o papel da música como fonte de sua crítica estética e moral tenha se modificado com o passar dos anos, podemos dizer que foi a música o fio-condutor que atravessou todos os períodos de sua produção. Neste estudo, o leitor encontrará uma análise de textos fundamentais da estética-musical de Nietzsche, indicando as tensões e continuidades de seu pensamento sobre aquela que pode ser considerada sua grande paixão intelectual: a música / Abstract: The research offers a comprehensive study of the aesthetic thought of Nietzsche, from the defense of a redemptive perspective of music into his work. To do this, analyzes a comprehensive set of his writings, ranging from youth texts written before the publication of his first book, the birth of tragedy (1872), until the works of maturity, as if Wagner (1888), including this set so-called posthumous fragments and correspondence. Since the first sketches written in the 1860, the musical material was used by Nietzsche as a source of reflection and critical apparatus, a job of listening and reflection that accompanied him throughout life. Although the role of music as a source of his aesthetic and moral criticism has been modified over the years, we can say that was the music conductor wire through all periods of its production. In this study, the reader will find an analysis of fundamental texts of musical aesthetics-Nietzsche, indicating tensions and continuities of their thinking about what can be considered his great intellectual passion: music / Doutorado / Filosofia / Doutor em Filosofia