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Alexandre Weill : écrivain contestataire et historien engagé, 1811-1899.Friedemann, Joë. January 1980 (has links)
Th. 3e cycle--Litt. fr.--Strasbourg 2, 1974. / En appendice, choix de lettres d'A. Weill, 1847-1890. _ Index.
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Der junge Kurt Weill und seine Oper "Der Protagonist" : exemplarische Untersuchungen zur Deutung des frühen kompositorischen Werkes /Diehl, Gunther, January 1994 (has links)
Diss.--Kiel, 1992. / Bibliogr. p. 373-379.
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Kurt Weill und Maxwell Anderson : Neue Wege zu einem amerikanischen Musiktheater, 1938-1950 /Juchem, Elmar. January 2000 (has links)
Texte remanié de: Diss.--Göttingen, 1999. / Bibliogr. p. 392-402. Index.
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Von der Zeitoper zur Broadway Opera : Kurt Weill und die Idee des musikalischen Theaters /Geuen, Heinz. January 1997 (has links)
Diss.--Universität Gesamthochschule--Kassel, 1996.
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The rise and fall of the city of Mahagonny : an interpretive staging as applied to University Opera Theater productions /Stoffel, David Neil January 1984 (has links)
No description available.
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Kurt Weill et la république de Weimar : une vision de l'avant-garde dans la presse : 1923-1933 /Huynh, Pascal, January 1990 (has links)
Thèse--Musicologie--Paris, 1990. / Bibliogr. vol. 2, p. 1-40.
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Lost in the stars Kurt Weill and Maxwell Anderson's musical adaptation of Alan Paton's novel Cry the beloved country /Viviers, Etienne. January 2008 (has links)
Dissertation (M.Mus.(Performance))-University of Pretoria, 2008. / Includes bibliographical references.
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Libretto im Progress Brechts und Weills Aufstieg und Fall der Stadt Mahagonny aus textgeschichtlicher Sicht /Nyström, Esbjörn. January 2005 (has links)
Revision of Thesis (Ph. D.)--Universität Göteborg, 2004. / Includes bibliographical references (p. 673-703).
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Kurt Weill: Lieder to Legend, An Examination of Ofrah's Lieder & Frauentanz, Op. 10Amonson, Christina January 2012 (has links)
Kurt Weill (1900-1950) began his compositional career in Berlin and left his legacy on the American Broadway stage. This study includes an overview of the influences of Lieder composers including Schumann and Strauss on Weill's first song cycle Ofrah's Lieder (1916) and the 20th century influences of Schoenberg and Stravinsky on his chamber music cycle Frauentanz (1923). This study examines how the Weill juvenilia employs diatonic melodies, mood painting, and the integration of vocal and piano parts emulating 19th century models. Next, this study presents ways in which Weill's Frauentanz displays 20th century techniques such as rhythmic texture, non-diatonic melodies, and semi-tonal instability. The Frauentanz vocal line is examined as instrumental in nature, adding textural importance to the interplay of the text with instrumental melodic motives. Kurt Weill's interest in vocal music and modernism directly influenced his legendary theatrical works. His traditional German musical training, rooted in counterpoint, combined with his melodic and modern ingenuity form the basis of the "Weill Style" of theatre music, for which he earned international recognition.
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"Wie hast du's mit der Religion? Studien zu Bertolt Brecht, Kurt Weill und ihrer Dreigroschenoper /Clasen, Merle. Unknown Date (has links) (PDF)
Kassel, Universiẗat, Diss., 2006. / Erscheinungsjahr an der Haupttitelstelle: 2005.
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