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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
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 19 of 19 (0.049 seconds)| 11 |
Jean Coulthard's Sonata for cello and piano : a confluence of stylistic tendenciesCrookall, Christine Evelyn 07 March 2011 (has links)
Not available / text
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Proust se geheuekonsep in Dutilleux se sonate vir hobo en klavier (1947) / Bernarda SwartSwart, Bernarda January 2006 (has links)
The French composer Henri Dutilleux (born 1916) was largely influenced by the
French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu.
This monumental work is regarded by many critics as one of the most important
novels of all times. The narrator, a parallel figure of Proust himself, experiences
an involuntary memory of his childhood. An involuntary memory which is aroused
in the narrator runs like a thread through the novel.
This study traces how Dutilleux's style of writing was influenced by the concept of
memory. Proust's concept of involuntary memory is realised in the sonata
through "musical beacons". Dutilleux's composition techniques which relate to
the concept of memory involve the following markers:
• mirror images such as fan-like or melismatic figures
• prominence of the tritone
• focal notes or chords
• principle of circularity
• obsessional chords.
A related aspect of Proust's concept of memory is the instability and
inconsistency of the human personality as it is portrayed in his novel. In this
study it is indicated how Dutilleux's croissance progressive composition
technique may be likened to the inconsistency of personalities. It involves the
concept of thematic evolutions which usually permutate from a core cell. This
technique is characteristic of his adult work, and he applied it consciously for the
first time in his First Symphony (1951). However, he acknowledges that he had
used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano
(1947) is an early work which was written during his student years for competition
purposes. He does not regard the sonata as representative of his adult writing
style. Thematic permutations of a core cell in the first movement are indicated in
all three movements of the work. The analysis of musical thematic structure
shows that aspects of Dutilleux's adult writing style were already present in his
early work. / Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.
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Proust se geheuekonsep in Dutilleux se sonate vir hobo en klavier (1947) / Bernarda SwartSwart, Bernarda January 2006 (has links)
The French composer Henri Dutilleux (born 1916) was largely influenced by the
French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu.
This monumental work is regarded by many critics as one of the most important
novels of all times. The narrator, a parallel figure of Proust himself, experiences
an involuntary memory of his childhood. An involuntary memory which is aroused
in the narrator runs like a thread through the novel.
This study traces how Dutilleux's style of writing was influenced by the concept of
memory. Proust's concept of involuntary memory is realised in the sonata
through "musical beacons". Dutilleux's composition techniques which relate to
the concept of memory involve the following markers:
• mirror images such as fan-like or melismatic figures
• prominence of the tritone
• focal notes or chords
• principle of circularity
• obsessional chords.
A related aspect of Proust's concept of memory is the instability and
inconsistency of the human personality as it is portrayed in his novel. In this
study it is indicated how Dutilleux's croissance progressive composition
technique may be likened to the inconsistency of personalities. It involves the
concept of thematic evolutions which usually permutate from a core cell. This
technique is characteristic of his adult work, and he applied it consciously for the
first time in his First Symphony (1951). However, he acknowledges that he had
used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano
(1947) is an early work which was written during his student years for competition
purposes. He does not regard the sonata as representative of his adult writing
style. Thematic permutations of a core cell in the first movement are indicated in
all three movements of the work. The analysis of musical thematic structure
shows that aspects of Dutilleux's adult writing style were already present in his
early work. / Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.
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Studio class purpose for performance : A comparison on how a musical piece performed in a final recital concert is different when prepared in studio classTupina, Madara January 2022 (has links)
The purpose of this thesis was to find out if and how studio class improves a live performance at a final examination concert. Although the specific research described in this paper was about playing the viola, the argument is made that the exploration and knowledge of pratice would be of benefit to any musician. This paper describes the studio class experiment during an academic semester within playing a musical piece and its full analysis. Information is provided about the studio class, its methods, variations, and practices. The application of studio class at the Royal College of Music in Stockholm to viola playing in general is discussed, and specifically to the preparation for the performance of Sonata for viola and piano by Janis Medins. The results of the study indicates that studio class was really beneficial to the interpretation of the piece during a live performance at a final examination concert. / <p>Janis Medins, Sonata for viola and piano (1959)</p>
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What is the key to Johannes Brahms music? Thoughts and analysis based on selected works and own experiences : ”How to interpret Brahms music to show the ’right’ content and expression?”Misztal, Marta January 2023 (has links)
The aim of the following work is an attempt to focus on the broadly understood music of Johannes Brahms. The author of the work looks at selected works by the composer, which, in her opinion, can be helpful in working on any piece. Numerous searches in symphonic works, knowledge of individual chamber and vocal works can definitely help every musician find the unique sound of Brahms. All this is done with the composer's first piece in mind: Sonata in C major Op.1 No. 1, which the author of the work will perform at the diploma concert. The work below contains an analysis of the Sonata, conclusions, hints regarding the sound, the direction of work and numerous information about Brahms' life from the accounts of his friends. / <p>Johannes Brahms - Sonate No. 1 Op. 1 in C major </p> / no
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Sonata V of Jan Dismas Zelenka : a study in style and genreVigneau, Michelle 14 May 2015 (has links)
The music of the late baroque composer Jan Dismas Zelenka (1679- 1745) was not widely circulated during his lifetime. In the late twentieth century, Zelenka's music experienced a revival due to the rediscovery of his sonatas for double reed ensemble. The thesis examines the stylistic, generic, and historical context for Zelenka's Sonata V (ZWV 181, no. 5), tracing the development of the ensemble sonata for double reeds at the Augustan court. Chapter One focuses on Zelenka's life, as well as the purpose and dating of the six ensemble sonatas for obbligato double reeds (ZWV 181). The subsequent chapter surveys the national styles that were assimilated into the compositional traditions of the Dresden hofkapelle in the early 18th century. The role of the oboist within the court musical establishment and the social status of the hofmusicus are discussed. Chapter Three considers the precedents for and influences on Zelenka's Sonata V, particularly with respect to its inclusion in the little known genre of the sonata auf concertenart. These sonatas in the manner of a concerto adopt the formal outlines of Vivaldi's concertos and concerted sonatas while obscuring the distinctions of genre between the sonata and concerto through the treatment of scoring and texture. Zelenka's Sonata V follows the style of an early sonate auf concertenart of Vivaldi. Zelenka's concerted sonata departs from its model by confounding the identity of the initially distinct ritornello and solo material. The specific use of the oboe in Zelenka's sonatas, including playing techniques, and the degree of specialization are discussed. The conclusion speculates as to why Zelenka's music quickly fell out of favor and why even the composer himself was treated in a critical manner only a few generations after his time at Dresden. An understanding of the Dresden court not only provides a window on Zelenka's music, but also explains its almost immediate eclipse following his death. / text
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An examination of Richard Peasleee’s Nightsongs, Eric Ewazen’s Sonata for trumpet and piano, Antonio Carlos Jobim’s Desafinado, Horace Silver’s Peace, and Bronislaw Kaper’s Green dolphin streetWard, Philip Keith January 1900 (has links)
Master of Music / Department of Music / Gary C. Mortenson / This Master's report contains the biographical, harmonic, and style analysis of the five compositions performed on the author's Master's recital that occurred on October 11th, 2007.
The analyses included will provide foundational information for thorough study of Richard Peaslee's Nightsongs, Eric Ewazen's Sonata for Trumpet and Piano, Antonio Carlos Jobim's Desafinado, Horace Silver's Peace, and Bronislaw Kaper's Green Dolphin Street.
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An analytical look at trumpet solo works by Eugène Bozza, Vincent Persichetti, Halsey Stevens, Alexander Arutunian, Eric Ewazen, and Ernest BlochCaldwell, Deborah January 1900 (has links)
Master of Music / Department of Music, Theatre, and Dance / Gary C. Mortenson / This report is an analysis and exploration of the following works: Eugène Bozza’s Caprice, Vincent Persichetti’s The Hollow Men, Halsey Stevens’s Sonata for Trumpet and Piano, Alexander Arutunian’s Concerto for Trumpet, Ernest Bloch’s Proclamation, and Eric Ewazen’s Grand Valley Fanfare.
The purpose of this report is to aid performance preparation of these pieces by providing thematic and formal analysis as well as identifying general unifying elements for each piece. Once identified, these patterns will help the performer communicate the broad musical ideas to the audience by finding a balance between the technical aspects and musical statements in each work.
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"Very Beautiful and Very American": A Multicultural Analysis of Florence B. Price's Quintet in A Minor for Piano and StringsCarvajal Harding, Taryn Jane 26 April 2023 (has links) (PDF)
This paper examines the Quintet in A Minor for Piano and Strings by Florence B. Price (1887-1953). One of Price's latest compositions (with final revisions dated January 21, 1952), the Quintet is a masterful example of what is possible when using a multicultural lens to approach the making of American music. This paper exposes the insufficiency of examining (and assessing) multicultural composers and their works only with traditional Western European analytical views, when an expanded approach is needed to explain many of the non-European musical influences and phenomena. While more complex and challenging, this expanded analytical approach sheds added light and understanding on all compositional techniques used within this work. This analysis of the Quintet in A Minor shows that Price often self-quotes from some of her own earlier works; specifically works from her organ, art song, and symphonic oeuvres. The findings also show that Price's understanding of both Western Classical traditions and African-American musical traditions enabled her to intertwine multiple cultures, creating novel forms that are authentic to the American experience she lived. Price created what she referred to as a "very beautiful and very American" sound.
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