Thesis (M.Mus.)--Chinese University of Hong Kong, 1995. / Chapter 1. --- STRING QUARTET NO.1 / Chapter 2. --- SEA INTERLUDE / Chapter 3. --- TRAGEDY

This project created a multi-media work that combined music and visual images in a video format to culminate my graduate studies. I explored computer graphics and video technology while drawing from a multi-faceted background in art. This project attempts to communicate through visual expression the innate qualities of music and sound, while reflecting my interests as an artist. I intend this work to be viewed as either a live performance piece to be accompanied by the piano duet, Sonata for Two Pianos, or as a recording on a computer monitor or television. / Department of Art

Orientador: Michael McDonald Hall / Dissertação (mestrado)-Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-13T21:37:27Z (GMT). No. of bitstreams: 1 Vidal_DianaGoncalves_M.pdf: 3017951 bytes, checksum: 33fd2592129f9e40483b445e841e1f67 (MD5) Previous issue date: 1990 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em História

Thesis (MMus (Performance)--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The work represented here is a transcription for two pianos of Vladimir’s Round Table, a relatively unknown, large-scale orchestral work by Stefans Grove. This particular transcription involved an intensive study of the orchestral score in order to best reproduce the work in the most effective way possible for two pianos, as well as to create a sound and convincing work for the two-piano repertoire. The process involved academic as well as pianistic substantiations regarding the inclusion or exclusion of various elements of the orchestral score. It is my hope that the final product is a good representation of a work supported by academic research but not so much as to exclude the possibility of freedom of performance. The ultimate aim of this transcription is to hopefully re-ignite interest in the work as well as to expose it to a wider audience and, in turn, encourage performance of the work in its original form. / AFRIKAANSE OPSOMMING: Die werk wat hiermee voorgelê word, is 'n transkripsie vir twee klaviere van Stefans Grové se minder-bekende orkeswerk, Wladimir se Tafelronde (die Afrikaanse titel wat op die titelblad van die manuskrip verskyn). Die transkripsie het 'n deeglike studie van die orkespartituur behels om sodoende die werk ten beste in die klavier-duo genre weer te gee, en om n oortuigende dog bruikbare werk vir hierdie tipe repertorium te skep. Ten einde die insluiting of weglating van bepaalde elemente van die orkespartituur teen mekaar op te weeg, is die proses deur sowel akademiese- en pianistiese oorwegings ingegee. Ek hoop dat die finale produk verteenwoordigend is van n transkripsie wat deur n akademiese ondersoek ondersteun is, terwyl dit ruimte laat vir praktiese oorwegings wat met die uitvoeringsmoontlikhede en -beperkinginge van die klavier-duo weergawe ter sprake kom. Die hoofdoel met die transkripsie is om hopenlik hernude belangstelling in Grove se orkeswerkte te wek; om dit aan 'n wyer publiek bekend te stel, en op sy beurt uitvoerings van die werk in sy oorspronklike gedaante aan te moedig.

Thesis (M. Mus.) -- University of Stellenbosch, 2002. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The transcriber cannot imagine how the composer would have done a similar transcription, but the intentions of the composer in the original version can be interpreted and transferred in a stylistically acceptable manner. At all times the possibilities of the instruments should be taken into consideration. Given the complex sound texture of the original version, the suggestions for a twopiano version have to incorporate the following: note length and rest length, sound colour, attack/articulation, bowing, articulation markings, effects and texture. In the assignment an explanation is given of the deviations that stem from the above factors. The awareness of these deviations necessitates a distinction between arrangement and transcription and compels the transcriber to be as faithful to the original score as possible. The explanation of deviations further provides the performer with an awareness of the artistic possibilities that the work provides. / AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die tweeklavier-literatuur. Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op 'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die instrumente moet ook te alle tye in ag geneem word. Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe, fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings, effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die artistieke moontlikhede van die werk.

Th study of two-piano music was prompted by an active interest in that field and a recognized need for a knowledge of its literature on the part of the writer, who, for the past five years, has devoted most of her time to two-piano work. After careful investigation it becomes apparent that no other study similar to this has yet been made, and it is hoped that it may be helpful to others with interests in common. Much remains to be done and further study would prove profitable. More information might be gained from interviews with prominent duo-pianists, as well as from examination of foreign catalogues and of recital programs given in Carnegie Hall, Town Hall, and similar music centers.

This thesis centers around three pianos designed and/or decorated by the Victorian artist Sir Edward Coley Burne-Jones: the Priestley Piano, the Graham Piano, and the Ionides Piano. I read and interpret the Burne-Jones pianos not only as examples of the artist’s exploration of the boundaries of visual art and music, but also as reflections of the Victorian era female gender performance. Their physical forms and decorations, both designed and executed by Burne-Jones, enhance the piano as an instrument and accentuate their respective female performers. The music emanating from these pianos and the domestic space in which they inhabit prompt and contribute to the Victorian female performance of gender.

¡§Transcription¡¨ was a common compositional technique used by composers during the nineteenth century. Composers arranged pieces in order to obtain various acoustic effects or fulfill different requests for performers; this type of arrangement is referred to as a ¡§transcription.¡¨ During that time, because the broadcast had not yet been created, the phonograph was uncommon; however, music became popular, pianos gradually owned by the bourgeoisie and polite societies. Composers often arranged pieces of music for the solo piano or small ensembles in order to help audiences easily understand the large musical work. This also contributed to an increased demand for piano works in the music publishing market. Most of Brahms¡¦s transcriptions are transcribed from his original pieces. In the transcriptions of his original works, Brahms often changes the instrumentation, with the piano being the most important instrument in many of his transcriptions. Sonata for Two Pianos, Op. 34b which this paper discusses as being the first composed for the string quintet, was altered in its instrumentation by Brahms to create two different versions, including Sonata for Two Pianos, Op. 34b and String Quintet, Op. 34. The contents of this thesis are divided into three parts besides introduction and conclusion. The first part describes various transcriptions and the features of these works. The contents first discuss the compositional techniques of transcription in the nineteenth century, and then investigate the characteristics of transcription in the works of Brahms. The second part is the motives behind Brahms¡¦s choice of instrumentation in his transcription. The last part describes the historical context of Sonata for Two Pianos, Op. 34b. This part discusses Brahms¡¦s procedures in his transcription of Sonata for Two Pianos, Op. 34b, and discusses the influence of Schubert¡¦s String Quintet, Op. 163 on Brahms¡¦s Sonata for Two Pianos, Op. 34b.

Made available in DSpace on 2014-08-23T02:01:09Z (GMT). No. of bitstreams: 1 000460551-Texto+Completo-0.pdf: 425770 bytes, checksum: 4f4d95634bb1dea7fdcfd54541ab7023 (MD5) Previous issue date: 2014 / José Luís Peixoto emerges in Portuguese literature scenario with a particular writingstyle. By exploring different language aspects and with a huge literary production, Peixoto calls attention because of the way he builds the narrators of his books. This study aims to look into the verification of the different constitution of the narratorspresent in the novel Cemitério de Pianos, published in 2006. By reading the work, along with a theoretical corpus constituted by Wayne Booth, Terry Eagleton, Maria Lúcia Dal Farra and Robert Humphrey, we analyze the processes of creation and formation of these narrators, as well as the presentation techniques of a fragmented narrative. Thus, our analysis looks for features that indicate the characteristics of a narrator who destabilizes the reader, who, in turn, reconfigures the literary work. / José Luís Peixoto surge no cenário português provido de um estilo particular de escrita. Explorando diferentes aspectos da linguagem e com uma produção literária vastíssima, chama atenção a maneira como Peixoto constrói os narradores de seus livros. O presente estudo pretende debruçar-se na verificação da constituição dos diferentes narradores presentes no romance Cemitério de Pianos, publicado em 2006. A partir da leitura da obra, juntamente com um corpus teórico formado por Wayne Booth, Terry Eagleton, Maria Lúcia Dal Farra e Robert Humphrey, verificam-se os processos de construção e formação desses narradores, assim como as técnicas de apresentação de uma narrativa fragmentada. Dessa maneira, nossa análise procura traços que indiquem características de narradores que desestabilizem o leitor, fazendo com que este, por sua vez, reconfigure a obra literária.

This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.