Spelling suggestions: "subject:"final"" "subject:"finds""
1 |
Gerald Finzi's Concerto for clarinet and string orchestra /Tseng, Su-ling. January 2000 (has links)
Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 98-100). Available also in a digital version from Dissertation Abstracts.
|
2 |
Gerald Finzi's songs for baritone on texts by Thomas Hardy an historical and literary analysis and its effect on their interpretation /Scheib, Curt. January 1999 (has links)
Research Project (D.M.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains v, 90 p. : music. Vita. Includes abstract. Includes bibliographical references (p. 85-86).
|
3 |
A performance study of Gerald Finzi's song cycle "Before and after summer"Lee, Chai-wei January 2003 (has links)
Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xi, 117 p.; also includes graphics. Includes bibliographical references. Available online via OhioLINK's ETD Center.
|
4 |
The Solo Vocal Collections of Gerald R. Finzi Suitable for Performance by the High Male Voice, a lecture recital together with three recitals of selected works of J.S. Bach, H. Wolf, R. Vaughan Williams, A. Jolivet, F.J. Haydn, J. Brahms, L.V. Beethoven, R. Strauss, J.P. Rameau, M. Ravel, S. Barber, G. FaureGermany, Samuel R. 08 1900 (has links)
A primary purpose of the study was to articulate the significance of these compositions to the twentieth century repertoire, with special attention given to Dies Natalis, recognized as an outstanding contribution to English music literature. Overviews and specific analyses, with pertinent performance applications and background data, fulfill this purpose and provide information of merit for the programming and performance of Finzi's songs for high male voice.
|
5 |
Gerald Finzi's Requiem da Camera (op. 3b, 1924), with Particular Emphasis on Editorial Problems in its Third MovementCook, Casey January 2013 (has links)
English composer Gerald Finzi's (1901-1956) early life was plagued by the deaths of close friends and family, and the beginning of the first world war. Before his eighteenth birthday, Finzi lost his three brothers, his father and his beloved composition teacher. To mourn these deaths and perhaps as a reaction to the first world war, Finzi began to compose his Requiem da Camera (op. 3b, 1924). Finzi completed three movements of this four-movement work during his lifetime, and left sketches for the completion of the unfinished third movement. Beginning in 1984, Philip Thomas, with the blessing of the Finzi family and the Finzi Trust, began examining the extant sketches in an attempt to complete the unfinished third movement. Thomas completed and published his edition of the Requiem da Camera in 1992. After a careful examination of this completion, a number of editorial questions were raised. This document was created to address these questions. It sets out historical parameters to provide context for Finzi's original composition, goes on to describe the development of liturgical and non-liturgical requiem composition, and discusses the development of British non-liturgical requiem (and requiem-like) compositions in the twentieth century. Thomas's completed third movement is compared to Finzi's source material. Four major areas of discrepancy are presented and examined to bring the movement closer to Finzi's original compositional intent. The document concludes with a new completion of the third movement. It combines the work of Finzi and Thomas, along with information gleaned in the process of creating this document, the remainder of the original Finzi composition, and other of Finzi's compositions with similar qualities from this era.
|
6 |
The Study about "Oh Fair to See" of Gerald FinziCheng, Chia-Yin 28 July 2010 (has links)
Gerald Finzi (1901-1956) was an excellent English composer in the twentieth century. He has devoted his whole life to popularize British music and preserve literature. In the songbook Oh Fair to See, Finzi¡¦s wife and son collected seven songs which he had composed but have never published since 1921 to 1956. This study is to discover the close connection between literature and music by analyzing the lyrics and music of these songs.
This study mainly contains four parts: the biographical life about Gerald Finzi, the characteristics of Finzi¡¦s art songs, the composing background of Oh Fair to See, and analysis of these songs. Each song shows Finzi¡¦s intuitive sense of blending words and sounds. Finzi employed a wide variety of figures both in the vocal phrases and in the accompaniment with an alternate and extensive use of tonal and model scale, which shows Finzi¡¦s creation that has great combination of music and poetry.
|
7 |
Gerald Finzi's Requiem da Camera (op. 3b, 1924), with Particular Emphasis on Editorial Problems in its Third MovementCook, Casey January 2013 (has links)
English composer Gerald Finzi's (1901-1956) early life was plagued by the deaths of close friends and family, and the beginning of the first world war. Before his eighteenth birthday, Finzi lost his three brothers, his father and his beloved composition teacher. To mourn these deaths and perhaps as a reaction to the first world war, Finzi began to compose his Requiem da Camera (op. 3b, 1924). Finzi completed three movements of this four-movement work during his lifetime, and left sketches for the completion of the unfinished third movement. Beginning in 1984, Philip Thomas, with the blessing of the Finzi family and the Finzi Trust, began examining the extant sketches in an attempt to complete the unfinished third movement. Thomas completed and published his edition of the Requiem da Camera in 1992. After a careful examination of this completion, a number of editorial questions were raised. This document was created to address these questions. It sets out historical parameters to provide context for Finzi's original composition, goes on to describe the development of liturgical and non-liturgical requiem composition, and discusses the development of British non-liturgical requiem (and requiem-like) compositions in the twentieth century. Thomas's completed third movement is compared to Finzi's source material. Four major areas of discrepancy are presented and examined to bring the movement closer to Finzi's original compositional intent. The document concludes with a new completion of the third movement. It combines the work of Finzi and Thomas, along with information gleaned in the process of creating this document, the remainder of the original Finzi composition, and other of Finzi's compositions with similar qualities from this era.
|
8 |
A recital of selected songs for the low male voice composed by Gerald Finzi using the poetry of Thomas Hardy.Vogel, Donald Eugene, January 1966 (has links)
Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Harry R. Wilson. Dissertation Committee: Frederick D. Mayer, Charles W. Walton, . Includes bibliographical references.
|
9 |
A Stylistic Analysis of a Young Man's Exhortation, Opus 14, by Gerald Finzi to Words by Thomas HardyRogers, Carl Stanton 08 1900 (has links)
This song cycle consists of ten settings, and has been divided into two parts by the composer. Each part is preceded by a short quotation in Latin which has been inserted by the composer. The two parts of the cycle are evidently meant to typify the division of a human life into the periods of youth and old age. The Latin quotations which divide the cycle into its two parts are taken from the Latin Vulgate version of the Bible, Psalm 89, verse six.
|
10 |
The English Musical Renaissance and Its Influence on Gerald Finzi: An in depth study of <i>Till Earth Outwears</i>, Op. 19aLair, Sean Patrick 24 April 2009 (has links)
No description available.
|
Page generated in 0.0478 seconds