The Suite for Violin and Piano, Op. 6 is one of the least-known compositions by Benjamin Britten. It has been considered unfavorably by critics and scholars due to its puzzling mixture of tonal and post-tonal elements. However, this dissertation argues that the suite is composed with a clear tonal framework, and its unique mixed tonal-post-tonal language justifies an in-depth analysis. This analytical study utilizes a linear progression technique - the voice leading produced by passing tones and neighbor notes around focal pitches - to identify tonal areas of the suite.

Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

Detta arbete utforskar den historiska utvecklingen av pianotrion i sin roll som kammarmusiksättning och dess förhållande till det samtida perspektivet. Genom att undersöka instrumentens roller både individuellt och i sitt sammanhang med hjälp av olika historiska kontext ser vi hur pianotrions roll och funktion har förändrats. Med hjälp av både kvalitativa och historiska metoder presenterar studien ett urval representativa verk från olika epoker och kompositörer, vilket ger en insikt i pianotrions utveckling över tid. Vidare ges det nutida perspektivet i en intervju med den svenska tonsättaren Britta Byström samt en analys av hennes verk "Symphony in Yellow" (2003). Studien visar hur samtida kompositörer hanterar sättningens svårigheter genom att utmana historiskt etablerade normer och traditioner. Syftet med arbetet är att fördjupa förståelsen för den historiska utvecklingen av pianotrion och dess bestående relevans i dagens musikvärld. / <p>Ljudfil:</p><p>B. Byström: Symphony in Yellow (2003)</p><p>Albert Dahllöf, piano</p><p>Jonna Simonsson, violin</p><p>Astrid Hillerud, cello</p><p></p>

Please note: this work is permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and fill out the appropriate web form. / The Verdehr Trio has been one of the leading chamber ensemble groups in the world over the past half century, featuring clarinetist Elsa Ludwig-Verdehr, violinist Walter Verdehr, and pianist Silvia Roederer. Founded in 1972, the trio worked to broaden the violin, clarinet, and piano trio’s repertoire. Since 1976, through Making of a Medium project, the ensemble has commissioned over 210 pieces from more than 150 contemporary composers all over the world. Although there were already a handful of prominent works for this configuration by Bartók, Milhaud, Khachaturian, and a few others, this genre of musical composition was established and popularized by the Verdehr trio’s efforts and their commissioned works. Indeed, other ensemble groups are actively continuing the Verdehr Trio’s legacy through performing the Verdehr’s repertoire on stage and by adding new repertoire to their programs by commissioning and arranging pieces. The concept of developing a whole new repertoire for a certain group of instruments shows great promise for the possibility of new music for contemporary musicians. From the beginning of the Verdehr Trio’s existence, James Niblock has been one of the primary supporters for the ensemble, not only as a colleague at Michigan State University, but also as a composer who has provided more than 13 pieces ranging from arrangements of pre-existing works to double concertos, including trio-specific chamber compositions. Niblock’s trio compositions make a solid contribution to the violin, clarinet, and piano trio literature as valuable exemplars of American Neoclassical music, with many similarities with Roy Harris and Hindemith. Niblock maintains a classical aesthetic in his chamber music, pursuing pure sounds, refraining from emotional or scenic expressions, and employing the use of simple instrumental techniques, few dynamics, a narrow range in the piano, thin polyphonic textures, rhythmic clarity, and small motives. On the basis of traditional idioms, he added 20th century techniques and personal preferences for shifted rhythm, perfect 4th/5th intervals, use of pitch centers rather than traditionally defined key areas, repetition of small motives, and more. / 2999-01-01T00:00:00Z

Thesis (MMus (Music))--University of Stellenbosch, 2009. / This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods pertaining to all three works was added. In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his “new” African voice (1984-). The African voice, represented by a melody he overheard a black roadworker sing, ties the work together. The sonata consists of five movements, with the first and fourth movements, and the third and fifth movements linked through content. This work presents challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as pitch difficulty due to unusual intervals without tonal context. Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region). The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping being the main challenge. Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies. The concerto has, as is tradition, three movements. Although the work contains ample technical challenges, it is obvious that it was composed by a string player – both the extensive running passages and double stopping are quite possible to play once good fingerings have been found. In the discussion of these works, attempts at solving specific technical problems are made.

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The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994.

Orientador: Esdras Rodrigues Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T08:00:47Z (GMT). No. of bitstreams: 1 Santos_LuisOtavio_D.pdf: 1566867 bytes, checksum: d0bf2b9092ba4f51e7eaf93e12e12ceb (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa teve por finalidade estabelecer uma discussão sobre o ensino das práticas interpretativas da música histórica nas escolas de música profissionalizantes atuais. Para tal contextualização, foi realizado um panorama da pedagogia musical em determinadas épocas específicas. Para o propósito do trabalho, foram enfocados a antiga tradição de ensino dos artesãos - relação mestre e aprendiz - e o sistema institucionalizado de ensino de música, como continuação do modelo estabelecido pelo Conservatoire de Paris. O estudo propõe uma leitura contextualizada dos documentos didáticos disponíveis desses dois universos pedagógicos, tendo como exemplo os tratados e métodos de violino. O movimento de resgate da música antiga, ocorrido durante o século XX, é analisado aqui dentro do contexto pedagógico: a sua inserção no sistema educacional de música. A partir desse enfoque, o estudo chama a atenção para o paradoxo do pensamento artesanal dos procedimentos didáticos do ancien régime dentro do contexto metodizado da formação musical da era Conservatoire. Através de um panorama do atual ensino da música antiga oficializada nas escolas, desde suas origens, com especial enfoque no testemunho do pioneiro do movimento Sigiswald Kuijken, o estudo coloca em evidência o paradoxo da didática histórica não linear e artesanal dentro do sistema metodizado moderno como uma possível diretriz pedagógica oficial para o futuro do ensino musical - uma era mais consciente do seu papel de sucessora do canonicismo artístico e pedagógico dos ideais oitocentistas / Abstract: This research intended to provoke a discussion about the teaching of early music practice as part of the system of today's advanced music schools. For that, a panorama of music pedagogy in different epochs was made. As part of the context of the present study, the ancient teaching tradition of the artisans - the master and apprentice relationship - and the contemporary institutionalized system of music teaching, an heritage of the Paris Conservatory model, were put together facing its differences and antagonisms. The study suggests a way of reading the historical pedagogical documents related to violin teaching through the perspective of the two pedagogical universes. The rediscovery of the early music practice, in the XXth century, was analyzed in its pedagogical consequences: the inclusion of period-instrument teaching as part of the music educational system. In this vision, there is an especial look in the paradox of the artisanal thought - as part of the didactics of the ancien régime - inside the methodized form of modern teaching. Through a panorama of the present situation of early music instruction in the advanced schools, from its origins, and with the particular testimony of the pioneer Sigiswald Kuijken, the research puts in evidence the paradox of the historical didactic of the artisans inside the modern methodized system as a possible direction for the future of music teaching - a new era, more conscious of its role as a successor of the canonic ideals of the Romantic times / Doutorado / Praticas Interpretativas / Doutor em Música

The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994. / Arts, Faculty of / Music, School of / Includes 1 sound cassette / Graduate