Giuseppe Concone's piano études number over a hundred, and are collected in seven various sets. They consist of pieces for elementary, intermediate, and advanced level pianists. A few of them have been printed in anthologies but most of them remain unknown. The present research consists of two parts: an overview of Concone's complete sets of piano études, and a detailed analysis of Op. 30, with a detailed focus on articulation, balancing, voicing, and interpretation. First is a brief overview of the Études Opp. 37, 46, 24, 25, 31 and 34. Then in the analysis of Op. 30, after explaining the salient features of this set of études, there is an illustration of the method by giving an analysis of each étude. Concone's Vingt Études Chantantes Op. 30 are a fine supplement of teaching repertoire for the intermediate piano students. The Op. 30 incorporates a diversity of technical requirements and musical merits that can help students transition from intermediate level to early-advanced level. They may also contribute to being aware of binary and ternary forms, and prepares students for learning other genres of the 19th century piano literature.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-10T13:59:07Z No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5) / Made available in DSpace on 2017-04-10T13:59:07Z (GMT). No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5) Previous issue date: 2017-03-31 / The 19th century Europe has passed for many transformations, among they, the setting of italian unification. This political process had the support of some personalities, as Giuseppe Verdi, one of the most important italian opera composers. Between his most famous compositions, La Traviata stands out for its big sucess in the after year of debut. In its first presentation, this opera were strongly criticized. This research discusses the reception of this drama by the bourgeoisie, through the libretto and literary and historical plot, analyzes few aspects of period. Thus, this opera were considered imoral and offensive for good customs of italian bourgueois society, who recognized his own defects in this spectacle / A Europa do século XIX passou por diversas transformações, entre elas, a consolidação da unificação italiana. Este processo político contou com o apoio de algumas personalidades, como Giuseppe Verdi, um dos mais importantes compositores de ópera italianos. Entre suas composições mais famosas, La Traviata destaca-se por seu grande sucesso, no ano posterior à sua estreia. Em sua primeira apresentação, esta ópera foi duramente criticada. Esta pesquisa, discute a recepção da obra pela burguesia, através do libreto e tramas literária e histórica, analisa alguns aspectos do período. Desta forma, esta ópera foi considerada imoral e ofensiva aos bons costumes da sociedade burguesa italiana, que reconheceu seus próprios defeitos neste espetáculo

Bibliography: v. 1, p. 197-201. Vol. 1. Introduction and commentaries -- v. 2. The musical text.

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Dissertation--Mainz--Johannes-Gutenberg-Universität, 2006. / Contient le texte en danois de Hans Christian Andersen, ainsi que sa traduction allemande : "Den standhaftige Tinsoldat = Der standhafte Zinnsoldat" Bibliogr. p. 202-209.

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If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from. / This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .

Thesis (Ph. D.)--University of Chicago, Dept. of Music, June 1999. / Includes bibliographical references. Also available on the Internet.

Thesis--Pontificia Universitas S. Thomae de Urbe. / Includes index. Bibliography: p. 13-23.

The aim of this thesis is to compare the Requiems of Brahms and Verdi, two composers who are both amongst the greatest in our Western musical history, but completely different in significant aspects, the one being by nature introspective, serious, and even inclined towards melancholy in his creative work, whether done in a religious context or not; and the other being first and foremost a composer of operas, thus specializing in music for the stage or theatre, presupposing extroversion and even a degree of flamboyancy. Brahms never wrote any operas but his oeuvre is enhanced by symphonies, sonatas and concertos of serious intent, and especially by a body of wonderful chamber music (which is perhaps the most intimate genre in Western instrumental music). Verdi, on the other hand, is known almost exclusively for his operas, and wrote little else. Then Brahms was one of the great composers of the German Lieder, again a markedly intimate genre, which suggests that he paid constant attention to fine detail. In contrast, Verdi's mentality was that of the Italian opera composer who is more concerned with flowing melodic beauty, which is a "translation into music" of the meanings and tendencies of the text.