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Evolution of the Scherzo Through BeethovenDower, Tamara 07 1900 (has links)
It would be impossible to trace the evolution of the form of the scherzo without treating also to some extent the history of the minuet, as the scherzo would hardly have come into being in the way it did had there not been the minuet, even though as the scherzo grew to maturity it resembled less and less its parent-form. This thesis examines the early use and origin of the scherzo, and its use and evolution in the works of Beethoven.
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ScherzoFrederick, Andrew N. 04 May 2020 (has links)
No description available.
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Liszt, Cultural Identity, Sonata Form, and the Scherzo und MarschSaffle, Michael 03 September 2020 (has links)
No description available.
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A study of J. S. Bach’s Toccata BWV 916; L. van Beethoven’s Sonata Op. 31, No. 3; C. Debussy’s Images Book One; F. Chopin’s Scherzo No. 2, Op. 31: historical, theoretical and stylistic implicationsHua, Ye January 1900 (has links)
Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s Report is a study of four piano compositions performed on April 10, 2016 at the author’s Master’s Piano Recital. These discussed pieces are including Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E-flat major, Op. 31, No. 3; Claude Debussy’s Images Book One; Fryderyk Chopin’s Scherzo No. 2, Op. 31. This study focus on historical, theoretical and stylistic implications of each composition.
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A study of J.S. Bach’s Partita in C Minor BWV 826; L. Van Beethoven’s Sonata Op.78; F. Chopin’s Scherzo Op.20; M. Ravel’s Miroirs: II, IV, V; Historical, theoretical and stylistic implicationsLi, Yiqi January 1900 (has links)
Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / This report is a study of Johann Sebastian Bach’s Partita in C minor, BWV 826; Ludwig van Beethoven’s Sonata in F-sharp major, Op.78; Fryderyk Chopin’s Scherzo in B Minor, Op.20; M. Ravel’s “Miroirs”: II. Oiseaux tristes, IV. Alborada del gracioso, V. Vallee de cloches; These compositions are part of the author’s Master’s Piano Recital given on April 12, 2017. The study mainly discusses from historical, theoretical and stylistic perspectives.
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Comparing Formal Analyses of Dmitri Shostakovich’s <i>Symphony No. 5, Op. 47</i> Through the Theories of James Hepokoski, Warren Darcy, and William CaplinWalden, Joseph P. January 2014 (has links)
No description available.
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