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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 11 to 20 of 21 (0.02 seconds)Spelling suggestions: "subject:"pierro"" "subject:"pierre""
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«...daß alles was geschrieben ist, auch hörbar werden muß». Text und Kontext in «Pierrot lunaire» und in anderen Vokalwerken Arnold SchönbergsMäkelä, Tomi 08 January 2020 (has links)
No description available.
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| 12 |
Sob o domínio da cor: análise dos filmes Pierrot le fou e Le bonheurHercules, Laura Carvalho 22 March 2013 (has links)
O estudo da cor no cinema tem alcançado relevantes dimensões de pesquisa ao longo da primeira década dos anos 2000. Diversas publicações mapearam os mais amplos temas em que a cor é posta na análise fílmica. Desta maneira, é possível revisitar algumas obras do passado e partir para novas interpretações e olhares. Sob o domínio da cor é que proponho a análise dos filmes Pierrot le fou (Jean-Luc Godard) e Le bonheur (Agnès Varda). Na investigação do sistema cromático desses cineastas, é possível avaliar questões interdisciplinares como a representação da França dos anos 60 e as relações de gênero. / The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00\'s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the film analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60\'s and gender relations.
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| 13 |
Sob o domínio da cor: análise dos filmes Pierrot le fou e Le bonheurLaura Carvalho Hercules 22 March 2013 (has links)
O estudo da cor no cinema tem alcançado relevantes dimensões de pesquisa ao longo da primeira década dos anos 2000. Diversas publicações mapearam os mais amplos temas em que a cor é posta na análise fílmica. Desta maneira, é possível revisitar algumas obras do passado e partir para novas interpretações e olhares. Sob o domínio da cor é que proponho a análise dos filmes Pierrot le fou (Jean-Luc Godard) e Le bonheur (Agnès Varda). Na investigação do sistema cromático desses cineastas, é possível avaliar questões interdisciplinares como a representação da França dos anos 60 e as relações de gênero. / The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00\'s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the film analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60\'s and gender relations.
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| 14 |
PresenceCook, Conner W. 26 May 2021 (has links)
No description available.
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| 15 |
Life Above the PermafrostPitman, Dennis 27 July 2010 (has links)
No description available.
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| 16 |
The Seasons: 30 Haiku for Flute, Clarinet, Violin, Cello, Mezzo-Soprano, and BaritoneSloan, Steven Ernest 21 April 2017 (has links)
No description available.
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| 17 |
Monolith: A Piece for Midi Piano, Mixed Sextet, and Fixed ElectronicsVaughn, Mark, 1987- 08 1900 (has links)
Reference to a regular pulse is one of the most common ways of measuring time in music. As the basis for tempo, meter, subdivisions, and even formal symmetry, pulse, or the sonic articulation of regular units of time, is found throughout all levels of music. In this paper, I describe how I used a structure of twelve simultaneous pulses to compose "Monolith," a recent piece for MIDI piano, Pierrot ensemble, and fixed electronics. In the first chapter, I contextualize "Monolith" by briefly examining pulse's relationship to hierarchical structure in music and the possibilities for creativity in pulse-based hierarchical structures. In the second chapter, I analyze the use of pulse in Steve Reich's "Music for 18 Musicians," György Ligeti's "Self-portrait with Reich and Riley (with Chopin in the background), and Conlon Nancarrow's "Study No. 36 for Player Piano." In the third chapter, I describe in detail the relationship between the twelve-pulse structure and the various movements that comprise "Monolith," focusing on the relationship between compositional freedom and prescribed structure throughout the work.
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| 18 |
Temporal dimensions and expressive processes in Pierrot lunaire of Arnold SchoenbergOlive, Jean Paul 23 October 2023 (has links)
No description available.
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| 19 |
Part I--Night of the Living Dead, the operaPart II--How Music Sounds: A Comprehensive Guide to the Grammar of MusicGoodman, Todd William 17 August 2017 (has links)
No description available.
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| 20 |
Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arteSobeck, Janine Michelle 15 August 2007 (has links) (PDF)
La commedia dell'arte is a recognized, vibrant theatrical form that emerged in Italy during the Renaissance. However, while great attention has been given to the particulars of the genre (performance techniques, important troupes, leading players), there lacks a study behind the reasoning for its vast international popularity. In this thesis, I explore why this particular genre was able to cross cultural and linguistic boundaries, finding a dedicated and enthusiastic following in most European countries for over 200 years. After analyzing commedia dell'arte's original development in the Italian peninsula, examining the predominating Carnival ideology and the ability of the troupes to establish both regional and national symbols through the creation of specific stock characters, I will concentrate on the international tours and performances. By looking at the adaptive qualities of the troupes, and specifically their ability to play off of Europe's lack of national identity and Northern European's fascination with their exotic southern neighbor, I will discuss the reaction of Northern Europe with the Italian theatre, with a detailed look into the success of the troupes abroad. The popularity of the troupes will also be explored through the unique adaptation, assimilation and adoption of commedia dell'arte techniques and characters into developing national theatres of the other countries. I will conclude with a look of how commedia dell'arte has been and can continue to be effectively used in today's theatre. The examination of what drew both native and foreign audiences to the commedia dell'arte performances opens up possibilities for modern practitioners who wish to capitalize on the ability of the troupes to successfully play to a wide spectrum of people.
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