Global ETD Search

1	L'ostinato dans l'oeuvre d'Alban Berg : formes et fonctions / Starobinski, Georges, January 2000 (has links) Diss.--Genève--Université, 1996. / Bibliogr. p. 289-300. Index. Berg, Alban, Ostinato.
2	Att dyka bland koraler : en studie i att skapa psalmförspel Landgren, Linus January 2017 (has links) Syftet med arbetet är att utforma och sammanställa mallar som organister kan ta hjälp av för att skapa förspel till psalmer. Med utgångspunkt i litteratur om orgelimprovisation har jag vid orgeln laborerat med olika improvisationstekniker för att utforska olika möjligheter till att presentera en psalmmelodi. Även samtal med lärare, konsertbesök och inspirerande medstudenter har hjälpt mig i processen. Resultatet blev fyra förspelsmallar som kan användas till att skapa psalmförspel. I arbetet har jag förklarat hur de fungerar, hur jag kom på dem, samt gett klingande och noterade exempel på hur de kan användas. Som kyrkomusiker tycker jag att det är roligt att försöka variera psalmförspelen så mycket som möjligt. En önskan om att lära mig fler sätt att preludiera gav mig idén till arbetet. Nyckelord: orgel, liturgisk orgel, orgelimprovisation, improvisation, förspel, preludium, psalmförspel, koralförspel, ostinato. orgel liturgisk orgel orgelimprovisation improvisation förspel preludium psalmförspel koralförspel ostinato. Music Musik
3	Quotations and Constructivism in Twentieth-Century Violin Chaconnes by John Adams, Hans W. Henze, and Moses Pergament Zorgniotti, Marc F. 09 August 2010 (has links) No description available. Music Chaconne Hans W. Henze John C. Adams Moses Pergament Violin ostinato
4	The Solo Piano Works of John Corigliano: Etude Fantasy (1976) and Fantasia on an Ostinato (1985) Simms, Beverley 08 1900 (has links) John Corigliano (b. 1938) is a contemporary American composer who has in the last twenty years established himself as a composer whose versatility and accessibility are appreciated by a wide range of audiences. He has labeled himself an eclectic composer who unashamedly borrows from other musical styles and periods in an effort to create works that appeal to a variety of listeners. He has been mentioned along with George Rochberg, George Crumb, and Jacob Druckman as an advocate of the post-modern movement in contemporary American music, a trend that has been crucial to the development of contemporary concert music. The purpose of this study is to examine the two solo piano works of Corigliano in terms of style, structure, and musical influences. The Etude Fani-agy (197 6) is a set of five etudes, performed without pause. The etudes are unified through an elaborate use of thematic transformation in which a row-like idea generates most of the material. The keyboard writing is varied and dramatic, with similarities to Debussy, Bartok, Prokofiev, and Copland. Fantasia on an Qstinato (1985), commissioned for the van Cliburn International Piano Competition, is an atmospheric tone poem that transforms the theme from Beethoven's Symphony no« 7 (second movement) . The rhythmic and harmonic structure of this theme are retained through much of Corigliano's work. Full quotations and fragments of the symphony are combined with newly-composed material influenced by Beethoven's theme. Influence of minimalist techniques associated with Terry Riley, Steve Reich, and Philip Glass is apparent throughout the work; rhythmic phasing, repetitive patterns, and musical stasis are used extensively in the second section. A comparison of the Etude Fantasy and Fantasia nn an OstinatQ confirms the eclectic characteristics of Corigliano's style. In both works, the composer borrows freely from a variety of musical traditions, combining and modifying traditional and avant-garde techniques. It is this intelligent combination of elements, along with expert craftsmanship, that has become Corigliano's trademark and have earned him an important place in contemporary American music. piano music piano composers John Corigliano
5	Wie kann ›Historische Improvisation‹ sein?: Vier Stichproben aus Basso-ostinato-Stücken als Inspirationsquellen Erhardt, Martin 17 October 2023 (has links) No description available. info:eu-repo/classification/ddc/780 ddc:780
6	Where Have I Known This Before? An Exploration of Harmony and Voice Leading in the Compositions of Chick Corea Lynch, Jordan 09 April 2012 (has links) No description available. Music jazz harmony voice leading chick corea chromatic thirds chromatic mediants functional harmony planing line-based progressions pedal points ostinato vamps
7	"Homage to Nancarrow" from "Estudios de Frontera for 5 Percussion Players" by Alejandro Viñao: A Rhythmic Analysis and Performance Practice Guide Kilgore, Matthew Ryan 12 1900 (has links) The Peabody Conservatory commissioned Estudios De Frontera by Alejandro Viñao in 2004. Percussionist Robert Van Sice initiated the commissioning process. Estudios De Frontera is the first composition for percussion ensemble by Viñao. Viñao's Estudios is written in two movements. The first is titled Homage to Nancarrow. As the title implies the compositional processes are directly influenced by Conlon Nancarrow. The composer states: "Homage to Nancarrow is concerned with the perceptual illusion of multiple simultaneous speeds or tempi....This movement explores the type of rhythms that create the illusion that multiple independent tempi are being heard while remaining playable by musicians." The purpose of this document is to provide a rhythmic analysis describing the techniques used by Chopin, Ligeti, and Nancarrow, and demonstrating their manifestation in the first movement of Alejandro Viñao's Estudios de Frontera. The analysis provides detailed information in regards to Nancarrow's rhythmic structures including: ostinato, hemiola, isorhythm, accelerations, and implied poly-tempo. Additionally, by seeking advice from notable performers and ensembles, the areas of greatest concern are identified, and strategies towards rehearsal and performance are recommended. The performance guide is included as an appendix to the analytic body of the paper. percussion music Viñao Homage to Nancarrow Nancarrow rhythmic analysis performance guide tempo rhythm ostinato polyrhythm isorhythm polytempo compositional technique Musical meter and rhythm. Time in music. Composition (Music) Academic theses
8	Reinventing Tradition: Brahms, Progress, and Basso Ostinato Hines, Jane 29 April 2015 (has links) No description available. Music Johannes Brahms opus 18 opus 56a Arnold Schoenberg Harold Bloom anxiety of influence Thomas Stearns Eliot tradition and the individual talent progress tradition influence basso ostinato passacaglia chaconne folia orchestral variations
9	Takt och Otakt Gahrton, Daniel January 2019 (has links) The theme of the song Lonely Woman by Ornette Coleman and the song It’s Halloween by The Shaggs has something in common when it comes to how the different instruments relate rhythmically to each other. I would call it a musical quality that could be described as a feeling of ungraspability. I had this quality in focus during a process of listening to music, writing music and playing music. To describe the cause of this quality I felt the need to define two concepts I named 1) rubato structures; rhythmic structures that aren’t based on, nor establish a steady pulse, and 2) tempo structures; rhythmic structures that are based on and establishes a steady pulse. Throughout the project I identified the cause of the quality, to be combinations of rubato structures and tempo structures, however my understanding developed during the project to a more specific definition which was layers of rubato structures and tempo structures. In the 6 compositions that this project resulted in, I created a number of musical situations with my group, which all had these elements. When listed, these situations rather systematically go through ways of combining structures in regards to different parameters. When listened to, at least for me, several of them give rise to the feeling of ungraspability I had in focus. My attempts to describe and analyze the many inspiring examples stretching from Charles Ives to Swedish contemporary vocal folk music, helped me to develope tools for making music of my own, rather than resulting in some objective truth, or a system for describing and analyzing music that would work objectively. One thing I would consider objectively true, however, is that there are a lot of different ways of creating rhythmic complexity, where some ways are very tedious and difficult for the musicians. With rhythmic layers of rather simple structures, containing rubato structures, I can create rhythmic complexity beyond the quantifiable, just by putting the human impulses in control. Takt in Swedish could mean many things, such as beat, meter, bar, measure. Otakt is often used as a negative word to describe a failed attempt to play in time, but is also linguistically the negation of takt (thus meaning no beat, no meter, no bar, no measure). Takt och (and) Otakt is therefor a play with words, since otakt relates to things in this study that is embraced rather than avoided. / <p>Bilaga: CD</p> rhythm rhythmic layers rubato tempo pulse contrast composition composing quintet ostinato loop structure polyphony autentic ungraspable impulse Ives Shaggs Ornette Coleman rhythmic analyzis composing tools rhythmic complexity organic rhythm composing for improvisors rytmik rytmiska lager rubato tempo puls kontrast komposition komponerande låtskrivande kvintett ostinato loop strukturer polyfoni autentisk ogreppbarhet impulser Ives Shaggs Coleman Ornette rytmisk analys kompositionsverktyg rytmisk komplexitet organisk rytmik komponera för improvisatörer Music Musik

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