<p>Cilj disertacije je da se kori&scaron;ćenjem teorije o<br />muzičkom gestu - na sonatama kao<br />reprezentativnom uzorku u kome je gest osnova<br />izgradnje muzičkog značenja, generator<br />kompozicione forme i strukture, ali i determini&scaron;ući<br />faktor analize koji obezbeđuje razumevanje stila i<br />stilskih promena - potvrdi upotreba muzičkog gesta<br />kao elementa naratologije muzičkog toka u muzici<br />Prokofjeva. &Scaron;ire gledano, primena teorije o<br />muzičkom gestu na istraživanje klavirskih sonata<br />Sergeja Prokofjeva potvrdiće njenu univerzalnu<br />profilisanost i primenjivost u analitičkim tumačenjima<br />muzike 20. veka, te pro&scaron;iriti dosada&scaron;nju praksu da se<br />ova teorija isključivo vezuje za muziku 18. i 19. veka.<br />Svojevrsni analitički izazov predstavljaće primena<br />ove teorije na muzički tok koji povremeno izlazi iz<br />okvira tonalnog jezika (u kom je muzički gest<br />originalno utemeljen) čime se pro&scaron;iruje polje njene<br />primene, ali i ukazuje na najproduktivniji aspekt<br />dana&scaron;nje muzičke semiotike - istraživanje relacije<br />muzika-telo.</p>

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No description available.

In this study I research and reflect on my way to embellish music from the baroque. I focus on Georg Phillipe Telemanns music. I work with embellishments in the second movement (Larghetto) from Solo X, Essercizii musici (Hamburg (1740)) for recorder and basso continuo (TWV 41:C5). I try diffrent versions to embellish this movement. I record these versions and enclose a score with all diffrent versions. I do these versions after I have worked with diffrent bakground information connected to this movement. What is it that affects my embellishments? One question is how does Telemann do in his Sonate metodiche? What does this mean to me? Do I want to copy Telemanns way of embellishing? / <p>Jana Langenbruch - blockflöjt</p><p>Elin Nilsson - barockfiol</p><p>Sandra Marteleur - barockfiol</p><p>Andrea Ravandoni - barockviola</p><p>Stina Petersson - barockcello</p><p>Sarah Nygren - barockkontrabas</p><p>Marcus Mohlin -cembalo</p><p></p><p>Musik:</p><p>Nicola Fiorenza (efter 1700 - 1764) Konsert i a-moll Grave, Allegro, Largo e staccato, Allegro assai</p><p>Georg Philipp Telemann (1681 - 1767) Konsert i C-dur - TWV 51:C1 Allegretto, Allegro, Andante, Tempo di Minuet</p><p></p><p>Inspelningar Larghetto ur TWV 41:C5: Jana Langenbruch - blockflöjt (2014)</p>

Zugl.: Leipzig, Hochsch. für Musik und Theater, Diss., 2008

Thesis--Universität zu Köln, 1982. / Includes bibliographical references.

abstract: Charles-Valentin Alkan’s Grande Sonate Op. 33 ‘Les quatre âges’ is a unique four-movement work for piano solo that programmatically represents a man’s life through four decades, passing from age 20 to 50, with each movement being progressively slower than the previous. Published in 1847, it was destined for obscurity until it was rediscovered and premiered in 1973 by English pianist Ronald Smith. Its absence from the public’s reach can be attributed to multiple reasons including the reclusive nature of the composer during the time of composition and the societal issues surrounding the French Revolution of 1848. Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate. The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Die 'Sonate für Fagott und Klavier' wurde 2013 komponiert. Sie ist einsätzig und dauert knapp 8 Minuten.

Die Sonate für Flöte solo, 1986 – 87 für die hannoversche Flötistin Barbara Hannemann komponiert, besteht aus einem gut dreiminütigen Allegretto, dessen spielerisch-heiterer, an Hindemith gemahnender Anfang eine eher harmlose, unkomplizierte Musik erwarten lässt (diese Erwartungshaltung wird wenigstens teilweise enttäuscht) und einem mit gut fünf Minuten ausgedehnteren zweiten Satz, in dem sich ruhige Partien (Andante) und schnelle Partien (Allegro) abwechseln. Eine wichtige Idee des Werkes ist die der „latenten Mehrstimmigkeit“, also der Vortäuschung von Zwei- oder sogar Dreistimmigkeit in einem – instrumentenbedingt - real einstimmigen Satz. Diese wird vor allem im ersten Allegro-Abschnitt, einem Fugato, realisiert. Das geschieht durch den raschen Wechsel unterschiedlicher Lagen, Lautstärken und Artikulationen, die für jeweils unterschiedliche Stimmen stehen.

No description available.