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1	Stylistic Elements within the Texture and Formal Structure of Ernst von Dohnányi's Four Rhapsodies, op. 11 Hwang, So Myung (Sonia) 05 1900 (has links) Hungarian pianist, composer, conductor, teacher and administrator, Ernst von Dohnányi (Ernö Dohnányi in Hungarian), was considered one of the most versatile musicians and the first architect of Hungary's musical culture in the late nineteenth and early twentieth-century. Dohnányi composed the Four Rhapsodies, op. 11, between 1902 and 1903, and among his many piano compositions, op. 11 are regarded as some of his most substantial works. Without directly imitating the earlier works of Liszt and Brahms, Dohnányi contributed to the rhapsody tradition with op. 11 by using his own unique stylistic compositional elements in the textural and formal structure. Texture and form are the most indicative characteristics of his rhapsodic language because of the improvisational nature that permeates his compositional style in the rhapsodies. In this dissertation the works are examined from within its textural and formal structure. Within texture, rhythm and accompanimental figurations are examined. Each rhapsody's structural organization, including references to eighteenth-century forms, and the cyclical elements in the work is analyzed. Background information on Dohnányi and a brief history of the rhapsody in the 19th century is also included. Dohnanyi Four Rhapsodies op.11
2	Tradition and innovation in the twenty-four preludes, Opus 11 of Alexander Scriabin Lee, Hwa-Young 28 August 2008 (has links) Not available / text
3	The Mendelssohn Symphony No. 1 in C Minor as a transition from the twelve string symphonies of Mendelssohn to his "Overture to a Midsummer Night's Dream" Pitts, Ralston O., Pitts, Ralston O. January 1980 (has links) Felix Mendelssohn's Symphony No. 1 in C Minor, Opus 11, is important primarily as a transitional work. It is the first work in which Mendelssohn deploys large orchestral forces in the traditional form of the symphony; thus, it provided Mendelssohn with the means of making the important transition from the relatively small, chamber-music ensemble in which he had previously worked (as represented by the "string symphonies") to large-scale symphonic works. Its historical or biographical importance definitely outweighs its importance as a musical work in its own right; this can be seen by the fact that it is much less performed today than other symphonies by Mendelssohn. In these later symphonies the composer displays his talents in a more fully developed form. Nonetheless, Symphony No. 1 has many excellent qualities. It has several memorable melodies and shows the working of a vigorous, youthful, though somewhat derivative musical intelligence. It has several brilliant and memorable moments, although considered as a whole it must still be regarded as a work that promises a greater talent than it displays. lecture recital document
4	Stylistic Analysis of the Chopin E Minor Concerto Carmignani, Anna Marie 08 1900 (has links) Both of the Chopin concertos are the earliest of his works to be found in the ordinary piano repertoire, and they possess the direct influences and inherited traits of the composer. Since he did no more orchestral work after completing these two works, it is evident that he thought only in terms of pianistic expression. Probably one of the reasons for Chopin's ineffectiveness as an orchestral writer is due to his inability to conform to the classical form: sonata allegro. The e minor concerto is representative of his treatment of the larger forms. Analyzing the elements of an early work of the composer reveals the degree of maturity in individual traits. Elements of basic chord structure and use of harmony, melodic characteristics, and pianistic expression mark the style of a composer. This concerto demonstrates the beginning of chromatic harmony in his time and in his own writing; it contains melodic beauty and pianistic features which make it acceptable in standard concerto repertoire in spite of its many defects. concertos Frédéric Chopin classical composers music analysis
5	Segmentational Approaches of Atonal Music: A Study Based on a General Theory of Segmentation for Music Analysis Acevedo, Stefanie 01 October 2010 (has links) No description available. Music musical segmentation atonal analysis Twentieth-Century Music Op. 11, No. 1 Schoenberg Op. 5, No. 4 Webern Dora Hanninen polyphonic analysis
6	Život a dílo Dmitrije Šostakoviče se zaměřením na Houslový koncert č. 1 op. 77 a Smyčcový kvartet č. 8 op. 110 / Life and Work of Dmitrij Shostakovich with Focus on His Violin Concerto No. 1 op. 77 and String Quartet No. 8 op. 110 Macháček, Jakub January 2017 (has links) This diploma thesis deals with Dmitry Shostakovich and his works. Its aim is to map the life of the composer and to further characterize his two works, Concerto for Violin and Orchestra No. 1 a minor op. 77 and String Quartet No. 8 in C minor op. 110. The thesis is divided into three chapters. The first chapter is about composer's life in the difficult living and creative conditions of the Soviet Union of that time and about selected compositions of his. In the following two chapters, the analyzes of the two above-mentioned works and the historical context in which they were create are presented. The thesis also provides an interpretative analysis of the Concerto for Violin and Orchestra No. 1 a minor, which is also an interpretative comparison of the concert recordings of David Oistrach and Julian Rachlin.
7	The Evolving Role of the Solo Euphonium in Orchestral Music: An Analysis of Lorin Maazel's "Music for Flute and Orchestra with Tenor Tuba Obbligato" and Karl Jenkins' "Cantata Memoria" Kittaweepitak, Boonyarit 08 1900 (has links) The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel's Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins' Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice. euphonium tenor tuba Maazel Lorin Maazel Jenkins Karl Jenkins brass section orchestral music cantata euphonium in orchestra euphonium in band solo euphonium euphonium in brass band wind band brass band orchestra baritone Bowman, Brian, 1946- Childs, David. Jenkins, Karl, 1944- Cantata memoria. Euphonium. Academic theses

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