This composition is a symphonic poem for full orchestra roughly eighteen minutes in length. The work takes both its title and inspiration from George Orwell's novel 1984. Each individual section of music reflects on a specific scene from the novel, but the sections function as transient and free-flowing "scenes" rather than as distinct movements, and musical material is transferred freely between them over the course of the piece.

No description available.

Smetana’s Vltava is widely described as a musical depiction of sights and scenes on a journey down the Vltava River that glorifies the river as a defining national landmark. While this understanding of the piece complies with its program and produces a formal and thematic analysis that reveals a general adherence to the conventions of the nineteenth-century symphonic poem, the interpretation only considers the work in isolation and does not account for its most exceptional features. My paper will analyze Vltava in its larger context as a part of the symphonic cycle of Má Vlast to uncover a deeper programmatic significance to the movement’s formal and thematic design, one inextricably bound up with Smetana’s Czech nationalism. The analysis will consider all of the movements of the cycle and their relationships to one another, with particular emphasis on the crucial relationship between Vltava and Z českých luhů a hájů. / text

The diploma thesis is concerned with the symphonic poem Praga, Op. 26 composed by Josef Suk in 1904 in need to create a music image of Prague at the turn of the 19th and the 20th century. The thesis deals with the current research and literature situation and it presents Suk as a composer and a musician at the turn of the century. The crucial part of the thesis informs about circumstances of Praga's origin, its premieres, publication and reviews in newspapers at the beginning of the 20th century. It is particularly concerned with the description of the form and the analysis of Suk's composition. In following two chapters, Praga is set into a broader context. The first of them describes the city of Prague and its depiction in artworks at the turn of the 19th and the 20th century. The second contextual chapter discusses Suk's symphonic poem in the connection with the Hussite movement tradition formed at that time and with a Hussite song Kdož jste boží bojovníci (Ye Who Are God's Warriors) infiltrating into the awareness of the cultured and educated society during the 19th century.

In the summer of 2008, over two days, my wife and I hiked the Maligne Range (Skyline) trail, situated in the Canadian Rockies near Jasper, Alberta. The 45-km trail begins in a pine forest at Maligne Lake but soon rises above the tree line. From there it winds its way across two successively higher mountain passes. In between lies a sprawling meadow speckled with colourful flowers and criss-crossed by glacial creeks. At the halfway point, the trail switchbacks steeply to the very top of the range, a vantage point that affords spectacular views in all directions. But a storm set in just as we reached the peak. Unwilling to serve as lightning rods, we broke out into a run, finding shelter only as the trail drops off quickly on the other side of the range. The breathtaking views, ruggedness and diversity of terrain, whistling marmots and sense of isolation all left a strong impression on me. I was especially delighted to realize that the very topographical contour of the trail provides a basic plan for a large-scale sonata-form structure, one that builds up in waves of tension, culminating in a fierce storm at the top: the development. In a similar vein, after the stormy material subsides (as in Beethoven’s Sixth), the descent, recalling the ascent, but now abridged and in reverse order, serves as varied recapitulation. The result is a one-movement symphony in the tradition of Sibelius’s Seventh and Barber’s First. Essentially tonal, the harmonic language is enriched with polytonal accents, modal alterations, complex chords and the colouristic usage of collections and twelve-tone techniques. Polymetre, multi-stranded canons, metric modulation and controlled aleatoric techniques enliven the rhythmic plane. The work’s structure is organic, developed out of limited yet contrasting thematic material, with all programmatic elements assuming abstract structural roles. The symphony’s bright orchestration and rhythmic vitality is indebted to composers of the modern Russian school; its emotional sweep and extremes, to Shostakovich; the scoring and harmonic content of certain dissonant chords, to Varèse; and its sense of drama and breadth, to Beethoven and Sibelius.

In the summer of 2008, over two days, my wife and I hiked the Maligne Range (Skyline) trail, situated in the Canadian Rockies near Jasper, Alberta. The 45-km trail begins in a pine forest at Maligne Lake but soon rises above the tree line. From there it winds its way across two successively higher mountain passes. In between lies a sprawling meadow speckled with colourful flowers and criss-crossed by glacial creeks. At the halfway point, the trail switchbacks steeply to the very top of the range, a vantage point that affords spectacular views in all directions. But a storm set in just as we reached the peak. Unwilling to serve as lightning rods, we broke out into a run, finding shelter only as the trail drops off quickly on the other side of the range. The breathtaking views, ruggedness and diversity of terrain, whistling marmots and sense of isolation all left a strong impression on me. I was especially delighted to realize that the very topographical contour of the trail provides a basic plan for a large-scale sonata-form structure, one that builds up in waves of tension, culminating in a fierce storm at the top: the development. In a similar vein, after the stormy material subsides (as in Beethoven’s Sixth), the descent, recalling the ascent, but now abridged and in reverse order, serves as varied recapitulation. The result is a one-movement symphony in the tradition of Sibelius’s Seventh and Barber’s First. Essentially tonal, the harmonic language is enriched with polytonal accents, modal alterations, complex chords and the colouristic usage of collections and twelve-tone techniques. Polymetre, multi-stranded canons, metric modulation and controlled aleatoric techniques enliven the rhythmic plane. The work’s structure is organic, developed out of limited yet contrasting thematic material, with all programmatic elements assuming abstract structural roles. The symphony’s bright orchestration and rhythmic vitality is indebted to composers of the modern Russian school; its emotional sweep and extremes, to Shostakovich; the scoring and harmonic content of certain dissonant chords, to Varèse; and its sense of drama and breadth, to Beethoven and Sibelius.

No description available.

No description available.

No description available.

93 f.:il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T14:58:47Z No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:03:10Z (GMT) No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) / Made available in DSpace on 2013-03-22T14:03:10Z (GMT). No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) Previous issue date: 2010 / Essa dissertação é resultado de uma pesquisa orientada que teve como objetivo principal realizar uma composição musical e sua respectiva análise. A composição, denominada Na noite, compreende três partes e foi inspirada no poema homônimo de Antonio Brasileiro, autor nascido em Rui Barbosa, Bahia, em 1944. Trata-se de poeta que, em meados da década de 1960, estudou Percussão em curso livre desta Escola de Música, tocou na Orquestra Sinfônica da UFBA e teve poemas de sua autoria musicados por, entre outros, Ernst Widmer e Jamary Oliveira. A composição que se criou é um poema sinfônico estruturado pela Teoria Pós-tonal e sua partitura completa está inclusa. Neste trabalho, há uma contextualização teórica sobre o poema sinfônico, a análise do poema “Na noite” e os procedimentos composicionais da peça. / Salvador