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Grundgestalt and developing variation : Arnold Schoenberg's Verkläte NachtKerridge, Patricia A. January 1986 (has links)
No description available.
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La musique pour piano solo de Nikos Skalkottas / Nikos Skalkottas’s music for solo pianoRamopoulou, Lorenda 20 January 2017 (has links)
Ce travail est une étude sur le style et les références présentes dans l’œuvre pour piano solo de Nikos Skalkottas (1904-1949). Il (ré)intègre pour la première fois le compositeur dans le milieu des pianistes qu’il a connu pendant ses années berlinoises (1921-1933), en inscrivant l’œuvre dans son contexte et l’ensemble des références auxquelles elle renvoie. Une méthodologie analytique émerge de ces mises en relation, destinée à faciliter le travail de l’interprète et à révéler les composantes stylistiques du corpus. Une importance particulière est portée sur le raffinement du timbre des pianistes berlinois dans l’entre-deux-guerres, mis en valeur par le « son coloré » des Bechstein historiques. Cette observation devient le point de départ d’une série d’analyses graphiques, montrant le rôle de la texture et du timbre en tant qu’éléments compositionnels chez Skalkottas. Les analyses, destinées à être utilisées par les interprètes, dévoilent une interaction de la texture avec le schéma formel. Elles sont complétées par l’étude des pièces, groupées par pôles de référence pour l’ensemble du corpus. Ces références s’étendent de la musique baroque et de Beethoven au jazz dansant et à la musique légère, tout en incluant des éléments provenant de la musique grecque. Les deux approches choisies s’appuient sur des sources mises pour la première fois au service de ce répertoire et s’avèrent complémentaires. Elles ont comme but d’offrir aux pianistes des clés pour son interprétation, de le rendre plus accessible et de faciliter sa propagation. / This thesis is a research into the style and influences on the solo piano works of Nikos Skalkottas (1904-1949). For the first time the composer is considered in relation to the pianistic milieu he was acquainted with during his Berlin years (1921-1933) and his oeuvre is examined in the light of its various references. A specific analytical methodology emerges from these influences, aiming at facilitating the performer’s work and revealing the stylistic components of the pieces. The refinement of the timbre in the playing of Berlin pianists in the interwar years, enhanced by the “coloured sound” of the Bechstein historical pianos, acquires a special importance. It leads to a series of analyses and graphs, showing the role of texture and timbre as compositional elements in Skalkottas’s piano music. The graphs, meant for the use of pianists, reveal an interaction between texture and form. This is complemented by the study of the piano pieces grouped according to their references; they extend from baroque music and Beethoven to dance jazz, light music, and Greek music elements. Both approaches can be justified from the study of primary sources, used for the first time in relation to this repertoire, and are complementary. By offering pianists new tools for its interpretation, the aim is to facilitate the access to this music and help its further promotion.
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Music-text relations in the Keller songs of Wolf and Schoenberg /Russell, Jennifer J., January 2006 (has links)
Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 162-165). Also available for download via the World Wide Web; free to University of Oregon users.
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Gesichte und Geschichte : Arnold Schönbergs musikalischer Expressionismus zwischen avantgardistischer Kunstprogrammatik und Historismusproblem.Böggemann, Markus. January 2007 (has links)
Diss.--Berlin--Univ. der Künste, 2006. / Bibliogr. p. 214-237.
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La main heureuse : symbole d'une époque et emblème de la rencontre entre Wassily Kandinsky et Arnold Schoenberg /Roussel, Stéphane, January 2000 (has links)
Mémoire--Histoire de la musique--CNR-Conservatoire supérieur de Paris, 2000. / Conrient en annexe le livret de l'oeuvre d'Arnold Schoenberg, ainsi que des extraits de la partition. Bibliogr. f. 99-104.
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Figures et renouveau du mélodrame au XXe siècle /Pedrinis, Corinne. January 1900 (has links)
Th. Etat--musique--Paris 8-Vincennes-Saint-Denis, 2004. / Résumé en anglais. Bibliogr. et discogr. p. 455-471.
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Tonal multiplicity in Schoenberg’s first string quartet, op.7Cavanagh, Lynn Marie 11 1900 (has links)
This study describes the integration of harmonic idiom and tonal design in
Schoenberg's First Quartet, op. 7. Two general questions are answered:
whether the composition should be judged by common-practice-period norms, and
whether a coherent tonal structure is truly discernible.
Chapter 1 first surveys the existing literature. It then describes a prime
motivator of foreground chromaticism in the quartet—the chromatic surrounding
of tonic and dominant pitches—and discusses two features of large-scale pitch
organization applicable to Schoenberg's first-period music that contravene
common-practice-period norms: tonal structure consisting of a pattern of keys,
and systematic use of dual or even multiple tonics in place of monotonality.
Examples illustrate three types of graphic representation of tonal duality to be
used in the study.
The next four chapters describe tonal process within and across the four
"movements" of the quartet (Schoenberg's Parts I through IV). Chapter 2, which
studies Part I, reveals systematic avoidance of V-I function in the opening key, D,
tonal rivalries between D and each of its two semitone-related keys, and the
beginning of a large-scale chromatic surrounding of the key of D. Chapter 3, on
Part II of the quartet, demonstrates continuation of the rivalry between tonics D
and Dt> by their use as competing secondary tonics within the Scherzo, and the
harmonic progression VII-I replacing V-I at a crucial structural point. Chapter 4,
on Part III of the quartet, describes tonal duality as it occurs in the Adagio, the
furthering of the tonal plot in a section that engages in a "plagal" system of
tonality, and the beginning of a large chromatic surrounding of A. Chapter 5
shows that Part IV eschews a simple relationship between the A-major tonic of the
Rondo and the D-major tonic of the Coda by allowing the infiltration of elements
of the Db-major collection.
Chapter 6 summarizes the evidence contradicting a monotonal
understanding of the composition and reviews evidence that the demonstrated
multi-tonal coherence is part of the musical reality of the work.
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Fluctuating and suspended meter in selected passages from Arnold Schoenberg’s Das Buch der hangenden Garten, Opus 15Evdokimoff, Thomas William 11 1900 (has links)
This thesis explores Arnold Schoenberg's use of meter in Das Buck
der hangenden Garten, Opus 15. The thesis works from the premise that
Schoenberg treats meter in a manner analogous to that usually associated
with pitch material: meter is motivic in nature, and can be subjected to
developmental techniques. The concepts of fluctuating meter and
suspended meter are developed, and used to describe the music; these
concepts are derived from an analogy with Schoenberg's own terms
schwebende Tonalitat and aufgehobene Tonalitat (fluctuating and
suspended tonality). Selected excerpts from the song cycle are analyzed.
The analyses focus on issues of meter, although some pitch analysis is used
to complement the discussion.
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Schoenberg, Pappenheim, and the expression of solitude in Erwartung, op.17Feilotter, Melanie January 1995 (has links)
Schoenberg's monodrama Erwartung, op.17 (1909), appeared at the dawn of early Expressionism, a movement which profoundly affected the composer's early works. This movement dealt in part with the alienation and isolation of the self in what many artists considered a corrupt and degenerate society. The first part of this thesis examines the possible influences of the Expressionist and Symbolist traditions on Erwartung's text and, to a lesser extent, the early history of psychoanalysis, of which librettist Marie Pappenheim was certainly aware. The impact of the changes made by Schoenberg to Pappenheim's original text, as well as some of his elusive stage directions are given consideration. The composer and librettist created a text which effectively obscures the boundaries between the protagonist's conscious and unconscious thoughts, hence confusing the audience's perception of perception of reality and illusion. / Schoenberg parallels this dramatic disjunction in his music, as is discussed in the second part of the paper. Certain representational moments (for example, pitch cells and ostinati) are presented; the musical context of these moments is radically changed in subsequent appearances, preventing them from being audibly recognizable, and from retaining a stable meaning. This discussion refutes earlier analyses of Erwartung which stress so-called motivic and thematic connections. Several illustrative moments in Scene IV are highlighted. Although on a local level, certain musical connections exist, what remains most disturbing and thus most effective in Erwartung is how the separateness of these 'climactic' moments gives the work its disjunct and temporally unpredictable quality.
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Die konservativen Revolutionare : die Musik der Zweiten Wiener Schule als logische Entwicklung des Vorangegangenen und des Gleichzeitigen /Taylor, Greg, January 1993 (has links) (PDF)
Thesis (B.A.(Hons.))--University of Adelaide, Dept. of German, 1994? / Includes bibliographical references (leaves 287-304).
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