I detta konstnärliga arbete förklarar jag min instuderingsprocess och går igenom olika tekniska aspekter i ”Five Bagatelles for guitar” av W. Walton. I inledningen försöker jag ge en övergripande bakgrundshistoria till min relation med musik och speciellt gitarr. Jag behandlar också erfarenheter med personer jag har mött som påverkat mig i min musikaliska inriktning. Efter det skriver jag om Sir William Walton och vilken typ av kompositör och människa han var, för att förstå musiken känns det naturligt att veta vem han var. Sedan följer en övergripande formanalys med text och notexempel, där jag med text förklarar de musikaliska motiven samt behandlar diverse tekniska svårigheter jag stött på under instuderingens gång. / In this artistic work I’ll explain my process of rehearsing and going through various technical aspects of the "Five Bagatelles for Guitar" by W. Walton. In the introduction I’ll try to give a comprehensive history of my relationship with music, especially guitar. I will also discuss experiences with people I have met who influenced me in my musical direction. After that I’ll write about Sir William Walton and what kind of composer and man he was, it feels natural to know who he was to understand the way he composed. Then follows an overall shape analysis with text and view sample, where I with the help of text explain the musical motifs and discuss various technical difficulties I encountered during the time of rehearsal. / <p>Bilaga: 1 CD.</p><p>Repertoar:</p><p>Histoire du Tangoav Astor Piazolla-I Bordell 1900-II Cafe 1930</p><p>Five bagatalles for guitarav William Walton-I Allegro-II Lento-III Alla Cubana</p><p>Sonata, Omaggio a Boccheriniav Mario Castelnuovo-Tedesco</p><p>-I Allegro con spirito-II Andantino, quasi canzone-III Tempo di minuetto</p><p>Medverkande musiker: </p><p>David Håkansson Gitarr, Alexander Rydberg Violin</p>

Este estudo tem por objetivo investigar a digitação de Julian Bream para as Five Bagatelles de William Walton, e suas possíveis implicações em uma execução ao violão.

Este estudo tem por objetivo investigar a digitação de Julian Bream para as Five Bagatelles de William Walton, e suas possíveis implicações em uma execução ao violão.

Este estudo tem por objetivo investigar a digitação de Julian Bream para as Five Bagatelles de William Walton, e suas possíveis implicações em uma execução ao violão.

O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles). / The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).

O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles). / The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).

Plus que jamais, les débats que suscite le personnage de Louis-Ferdinand Céline s’apprêtent à prendre le pas sur la réception de son œuvre littéraire, pourtant exceptionnellement riche. Soumis à une lecture souvent approximative, imprégnée d’aprioris, ses écrits sont couramment victime d’une mise en perspective déformée, car abordés à rebours. Deux idées aussi tenaces que contradictoires se maintiennent alors : celle d’une œuvre principalement politique et celle d’un écrivain avant tout styliste. Donnant la priorité à une approche en accord avec le développement chronologique de l’œuvre, ce travail de thèse propose de remettre en valeur les intentions primaires de celle-ci. À partir d’une contextualisation dans l’histoire des idées de Voyage au bout de la nuit, Mea culpa et Bagatelles pour un massacre, elle soutient que les écrits de Céline s’appuient sur une interrogation philosophique qui s’élabore autour d’un même malaise vis-à-vis de l’héritage des Lumières, mais dont les conséquences, autant pour le fond que pour la forme, diffèrent selon les textes. Alors que Voyage au bout de la nuit présente une interrogation ontologique axée autour du motif du néant, Bagatelles pour un massacre poursuit une approche où la remise en question des Lumières donne naissance à des revendications esthétiques et sociologiques autant qu’à des diatribes idéologiques. Aux confins de l’un et de l’autre texte, Mea culpa pose les bases de ce passage de l’abstrait au concret, si lourd de conséquences pour l’appréhension de l’œuvre. Ainsi, ce travail de thèse contribue non seulement à une meilleure compréhension des textes abordés, mais montre l’univers intellectuel sous-jacent qui les relie. / More than ever, debates engaging the character of Louis–Ferdinand Céline prevail over assessments of his collected work. The latter tends to receive superficial treatment, falling victim to a distorted perspective, infused with pre-judgment and approached through the prism of the author rather than the work itself. Two ideas, as persistent as they are contradictory prevail: of work that is inherently political and of a writer who is above all a stylist. Emphasising an approach in sync with the chronological development of Celine’s work, this thesis proposes to resurrect the author’s primary intentions. Starting with a contextualisation of Voyage au bout de la nuit, Mea culpa and Bagatelles pour un massacre, it is submitted that the writings of Celine rely on philosophical questioning developed around the same unease as has been witnessed on the legacy of the Enlightenment, but whose consequences, as much for the substance as the form, differ as according to the text. Whilst Voyage au bout de la nuit presents an ontological question centred on the theme for nothingness, Bagatelles pour un massacre pursues an approach where the questioning of the Enlightenment gives rise to aesthetic and sociological claims as well as ideological denunciations. At the extremities of the various texts, Mea culpa forms the basis of this movement from the abstract to the concrete albeit fraught with consequences for the understanding of the work. Thus, this thesis not only contributes to a better understanding of the texts examined, but shows the underlying intellectual universe that connects them.

Alexander Tcherepnin (1899-1977) was a Russian-born American composer, his musical style represents the modern and diverse features of much twentieth-century piano music. The purpose of this research is to conduct a comprehensive pedagogical analysis of Alexander Tcherepnin's Bagatelles, Op. 5 with the goal of introducing contemporary characteristics in twentieth-century piano music for the late-intermediate student. Chapter 2 contains overall biographical information regarding Alexander Tcherepnin and a discussion of the general compositional style of his piano works. Chapter 3 analyzes the Bagatelles, Op. 5 from the perspective of musical challenges concerning the contemporary characteristics, including contemporary harmony: interval of seconds, non-tertian chords, special use of the seventh chords, and ninth chords; contemporary rhythm and meter: shifted accents, asymmetric meter, meter change, and ostinato; modal melodic resources and tonalities; and other special tonalities. Chapter 4 has suggestions on fingering, pedaling, articulation, tone, dynamics and phrasing, and practicing procedures for individual technical difficulties. Studying the Bagatelles, Op. 5 provides a transition for the student from learning standard repertoire of the eighteenth and the nineteenth century, to contemporary repertoire through the combination of Russian compositional traditions with twentieth century repertory.