Dissertationen: „Frank Bridge“

1

Edwards, Angela M. „Frank Bridge : the string quartets“. Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/14826/.

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This study traces the stylistic development of the string quartets. The opening chapter shows the way that his personal idiom emerged in the earliest works. It also explains the analytical approach that has been used. The concept of symmetrical orderings fusing separate elements has been evident in music from all stages of Bridge's output. Overall tonal relationships have linked with inner tonal relationships as well as thematic ideas and chord structures. In addition, symmetry has drawn together the two aspects of Bridge's language, the traditional and the radical, and shown how the way that they are balanced is subtly changed in the course of his development as a composer. The music is explained from two approaches to symmetry, linear and circular. The ascending chromatic scale can be divided symmetrically by a number of intervals, notably seconds and thirds and tritones. Symmetrical orderings of two or more of these intervals are commonly found. The twelve semitones can also be arranged as a circle of fifths and it is this that has been most significant to the study. By adding tonal definition to these pitches, the circle of fifths explains this aspect of the music and also how certain pitches are interchangeable with one another. Therefore, the circle of fifths has also been a useful tool in explaining Bridge's concept of extended tonality. The main part of the study discusses the second and third quartets in depth as they represent the peak of Bridge's creative output and are at the centre of important stylistic changes. The final chapter briefly shows the way that his language continued to develop in the abandoned work and the fourth, and last. quartet.

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2

Harrison, Robin Granville. „The late style of Frank Bridge“. Thesis, Bangor University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409654.

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3

Huss, Fabian Gregor. „The chamber music of Frank Bridge“. Thesis, University of Bristol, 2011. http://hdl.handle.net/1983/4bfd9bcb-632d-468d-817a-c68a27dd7ebf.

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4

Hopwood, Paul Andrew. „Frank Bridge and the English pastoral tradition“. University of Western Australia. School of Music, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0017.

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This study's thesis is that instances of pastoralism in the works of Frank Bridge from 1914 to 1930 demonstrate a gradual darkening of his pastoral vision, and evince his increasingly complex relationship with the genre of pastoral music that flourished in English music in the early twentieth century (referred to in this study as 'the English pastoral tradition'). The study traces the change from the sensual and romantic idyll of Summer (1914-15), through progressively more ambiguous and darker manifestations of pastoral, and eventually to a bleak anti-pastoral vision in Oration (1930). This trend reflects Bridge's increasingly ambivalent relationship with the English musical establishment, his own radical change of musical language during these years, and significant changes in his personal circumstances. It also reflects the decline of romanticism and the rise of modernism in English music, a paradigm-shift that happened around the time of World War I, considerably later than in the music, literature and visual art of continental Europe. Chapters 1 to 3 examine the English pastoral tradition from three different contexts. Chapter 1 suggests that the English pastoral tradition may be understood as a genre, and describes a number of 'family resemblances' that run through and characterise it. Second, the English pastoral tradition is placed in the context of pastoral art from Classical times to the twentieth century, with a focus on pastoral in English literature. Finally, chapter 3 examines the social and cultural context of the English pastoral tradition and explores resonances between English society in the early twentieth century and the meaningstructures that underpin pastoral. The remaining chapters comprise a series of analytical discussions of six of Frank Bridge's works: Summer (1914-5), the first of the Two Poems (1915), Enter Spring (1926-7), There is a willow grows aslant a brook (1927), Rhapsody-Trio (1928) and Oration (1930). While a variety of analytical techniques are employed, the approach is broadly semiotic and focussed on musical meaning. Each analysis traces the relationships between signifying structures in the works and various musical and non-musical strands of the contextualising cultural discourse. As a result the works become the starting points for relatively wide-ranging discussions in which pastoralism in the music of Frank Bridge is understood as a site at which ideas of English nationalism and international modernism engaged with one another. Frank Bridge's place in this discourse, as revealed in the analyses of his works, becomes increasingly ambivalent and modernist.

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5

Yoo, Kyungjin. „Oration, Concerto Elegiaco by Frank Bridge: A Practical Guide for Performance“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538701/.

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English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.

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6

Amos, Mark. „'A Modernist in the Making'? : Frank Bridge and the Cultural Practice of Music In Britain, 1900-1941“. Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522834.

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7

Birnbaum, Sara Gardner. „Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences“. UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/7.

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In the western classical tradition, the violoncello has developed a reputation for its soulful, vocal qualities. Because of this distinction, many composers have written elegiac works for the cello. This document comprises studies of three twentieth-century British elegies for cello and piano, each explored against a backdrop of poetic, societal and musical influences. The results reveal several common tropes of mourning, both musical and extra-musical, which can be applied to further studies of musical works.

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Pulcastro, Hannah C., Peter O. Awinda, Mei Methawasin, Henk Granzier, Wenji Dong und Bertrand C. W. Tanner. „Increased Titin Compliance Reduced Length-Dependent Contraction and Slowed Cross-Bridge Kinetics in Skinned Myocardial Strips from Rbm20ΔRRM Mice“. FRONTIERS MEDIA SA, 2016. http://hdl.handle.net/10150/621415.

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Titin is a giant protein spanning from the Z-disk to the M-band of the cardiac sarcomere. In the I-band titin acts as a molecular spring, contributing to passive mechanical characteristics of the myocardium throughout a heartbeat. RNA Binding Motif Protein 20 (RBM20) is required for normal titin splicing, and its absence or altered function leads to greater expression of a very large, more compliant N2BA titin isoform in Rbm20 homozygous mice (Rbm20(Delta RRm)) compared to wild-type mice (WT) that almost exclusively express the stiffer N2B titin isoform. Prior studies using Rbm20(Delta RRm) animals have shown that increased titin compliance compromises muscle ultrastructure and attenuates the Frank-Starling relationship. Although previous computational simulations of muscle contraction suggested that increasing compliance of the sarcomere slows the rate of tension development and prolongs cross-bridge attachment, none of the reported effects of Rbm20(Delta RRm) on myocardial function have been attributed to changes in cross-bridge cycling kinetics. To test the relationship between increased sarcomere compliance and cross-bridge kinetics, we used stochastic length-perturbation analysis in Ca2+-activated, skinned papillary muscle strips from Rbrn20<^>R'Rm and WT mice. We found increasing titin compliance depressed maximal tension, decreased Ca2+-sensitivity of the tension-pCa relationship, and slowed myosin detachment rate in myocardium from Rbm20(Delta RRm) vs. WT mice. As sarcomere length increased from 1.9 to 2.2 mu m, length-dependent activation of contraction was eliminated in the Rbrn20<^>R'Rm myocardium, even though myosin MgADP release rate decreased similar to 20% to prolong strong cross-bridge binding at longer sarcomere length. These data suggest that increasing N2BA expression may alter cardiac performance in a length-dependent manner, showing greater deficits in tension production and slower cross-bridge kinetics at longer sarcomere length. This study also supports the idea that passive mechanical characteristics of the myocardium influence ensemble cross-bridge behavior and maintenance of tension generation throughout the sarcomere.

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9

Kennett, Christian. „The harmonic species of Frank Bridge : an experimental assessment of the applicability of pitch-class generic theory to analysis of a corpus of works of a transitional composer“. Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262644.

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10

Hsu, Hui-pin. „Form in Frank Bridge's three phantasies“. Thesis, City University of New York, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561222.

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From 1905 to the mid-1930s, British music (chamber music in particular) enjoyed the enlightened patronage of Walter Willson Cobbett (1847-1937), who supported and sponsored competitions for short, one-movement, chamber works titled "phantasy." There are opposing views as to what forms these phantasies exemplify. On the one hand, Charles Villiers Stanford and J.A. Fuller-Maitland claimed that these twentieth-century phantasies exemplify one specific form, although their descriptions of that form are not completely compatible with each other. On the other hand, Ernest Walker and David Maw have argued that modern British phantasies display a variety of forms.

This dissertation examines the forms of the three phantasies composed by Frank Bridge (1879-1941): the Phantasie String Quartet (1905), the award-winning Phantasie Piano Trio (1907), and the Phantasy Piano Quartet (1910). Bridge, who taught Benjamin Britten, is unarguably one of the most important composers of modern British phantasies. I argue here that Bridge applies three different formal models in his three phantasies: the Phantasy String Quartet is a super-sonata in which the first and third parts constitute a mirror-form sonata, while the second part is ternary; the Phantasie Piano Trio is subject to two equally valid readings: a two-dimensional sonata form and an ABCBA arch form; and the Phantasy Piano Quartet is an ABCBA arch. My findings thus lend credence to those such as Walker and Maw who deny that there is a single formal type for the British phantasy. Nevertheless, although Bridge's three phantasies differ in form, they each exhibit the use of arch-like structures. The evolution of form in Bridge's three phantasies suggests that the symmetry of the arch became more useful to him compositionally than conventional sonata or rondo forms. The preference for symmetrical design continues into Bridge's later works.

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11

Spenst, Peter [Verfasser], und Frank [Gutachter] Würthner. „Xylylene Bridged Perylene Bisimide Cyclophanes and Macrocycles / Peter Spenst ; Gutachter: Frank Würthner“. Würzburg : Universität Würzburg, 2016. http://d-nb.info/1141054272/34.

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12

Koch, Katharina Baader Franz von Molitor Franz Joseph. „Franz Joseph Molitor und die jüdische Tradition : Studien zu den kabbalistischen Quellen der "Philosophie der Geschichte". mit einem Anhang unveröffentlichter Briefe von F. von Baader, E.J. Hirschfeld, F.J. Molitor und F.W.J. Schelling [unveröffentlichte Briefe von und an Molitor] /“. Berlin ; New York : de Gruyter, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2780938&prov=M&dok%5Fvar=1&dok%5Fext=htm.

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13

Rausch, Rodger [Verfasser], Frank [Gutachter] Würthner und Ingo [Gutachter] Fischer. „Chemistry of Chromophore Bridged Biradicals - Synthesis and Properties / Rodger Rausch ; Gutachter: Frank Würthner, Ingo Fischer“. Würzburg : Universität Würzburg, 2021. http://d-nb.info/1230324097/34.

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14

Lack, Elisabeth. „Kafkas bewegte Körper die Tagebücher und Briefe als Laboratorien von Bewegung“. Paderborn München Fink, 2009. http://d-nb.info/994036124/04.

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15

Burnell, C. A. „The anxiety of memory : Frank Bridge's late works and inter-war British Modernism“. Thesis, Queen's University Belfast, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516866.

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16

Manz, Dennis-Helmut [Verfasser], Franc [Akademischer Betreuer] [Gutachter] Meyer und Sven [Gutachter] Schneider. „Preorganized Bimetallic Nickel Complexes of Pyrazolate-Bridged Ligands for Cooperative Substrate Transformation / Dennis-Helmut Manz ; Gutachter: Franc Meyer, Sven Schneider ; Betreuer: Franc Meyer“. Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2017. http://d-nb.info/114200130X/34.

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17

Chan, Hsin-Ting Jessica. „A critical study of Frank Bridge's "Phantasm - Rhapsody for pianoforte and orchestra" : its reception, manuscript sources and interpretation“. Thesis, Royal College of Music, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576928.

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A reassessment of Frank Bridge's Phantasm – Rhapsody for pianoforte and orchestra H. 182, this thesis explores in depth its reception, structure, and manuscript sources in order to develop an informed performance interpretation of this ill-fated work. Although in the last two decades, an increasing number of doctorate projects and research have been conducted on Bridge, they have mainly examined his works from the analytical and historical perspectives. So far, no manuscript sketches have been studied or documented extensively, nor have the findings been used to aid the process of constructing an interpretation of his work. In view of Phantasm's troubled première reviews and subsequent unpopularity, I seek to find the possible contributing factors by examining the British music scene around the 1930s, and comparing Phantasm's initial reception with a number of relevant British works. The available manuscripts, together with an analysis of Phantasm's structure and a consideration of its generic affiliation are used to elucidate Bridge's creative process, and determine his conception for this composition. In addition, this approach offers insights into Phantasm's interpretation, which combined with an investigation of its somewhat scarce performance tradition and recordings, culminate in an informed performance of this work. As well as the written component, this submission consists of recorded music and a DVD demonstration of the sketch revisions. Excerpts from commercial recordings are used to illustrate issues relating to the performance practice of Phantasm, and the self-recorded two-piano performance demonstrates the interpretative findings of this project.

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18

Weber, David. „A long sell : the disproportionate appeal of Frank Bridge's musicto familiar listeners, and its impact upon his reception, 1912-36“. Thesis, University of West London, 2016. https://repository.uwl.ac.uk/id/eprint/2948/.

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The thesis of this research project is that the music of Frank Bridge (1879-1941) is characterised by recurring effects that are disproportionately appealing to familiar listeners, and that these effects have had a significant impact on the shape of his critical reception. Two types of effect are described, which arise respectively out of genre and hierarchical structure, and are suggested by selected reviews of Bridge’s music. The composer’s treatment of genre is presented as subtle, complex, and misleading, creating what this thesis defines as generic misdirection, suggestions of genre within a musical work that act to veil a more fundamental and counter-generic aesthetic. These features are linked to the historical generic sensitivities of interwar British listeners, and potential effects on the listening experience are described. Similarly, the musical structures of Bridge’s later works are shown to be deceptively simple, partially veiled behind an appearance of complexity that arises out of surface features of lesser importance. This effect is argued to possess an ongoing significance for listeners, a likely influence on the experiences of present-day hearers of Bridge’s music. These effects are presented as an important part of understanding Bridge’s history and music, relevant to its dissemination and scholarly understanding. They also provide valuable new insights into the role of genre and structure in music listening, reception, and composition, and for the developing relationship between criticism and new music.

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Kruse, Hanno [Verfasser], und Frank [Akademischer Betreuer] Kalter. „Close Neighbors, Separate Lives. An Investigation of Residential Barriers and Bridges to the Social Integration of Young Immigrants in Germany / Hanno Kruse ; Betreuer: Frank Kalter“. Mannheim : Universitätsbibliothek Mannheim, 2017. http://d-nb.info/1138195790/34.

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20

Böhnisch, Torben [Verfasser], Franc [Akademischer Betreuer] [Gutachter] Meyer, Guido [Gutachter] Clever, Thomas [Gutachter] Waitz, Ulf [Gutachter] Diederichsen, Dietmar [Gutachter] Stalke und Konrad [Gutachter] Koszinowski. „C2-Symmetric Pyrazole-Bridged Ligands and Their Application in Asymmetric Transition-Metal Catalysis / Torben Böhnisch. Betreuer: Franc Meyer. Gutachter: Franc Meyer ; Guido Clever ; Thomas Waitz ; Ulf Diederichsen ; Dietmar Stalke ; Konrad Koszinowski“. Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2016. http://d-nb.info/1103233963/34.

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21

Bloos, Frank [Verfasser], Konrad [Gutachter] Reinhart, Matthias [Gutachter] Pletz und Josef [Gutachter] Briegel. „Möglichkeiten der frühzeitigen Intervention in der Versorgung von Patienten mit schwerer Sepsis oder septischen Schock / Frank Bloos ; Gutachter: Konrad Reinhart, Matthias Pletz, Josef Briegel“. Jena : Friedrich-Schiller-Universität Jena, 2015. http://d-nb.info/1178543420/34.

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22

Trautmann, Marjam [Verfasser]. „Eine digitale Edition - Ausgewählte Briefe von Jacoba van Heemskerck und Franz Marc an Herwarth Walden (1914–1915) / Marjam Trautmann“. Mainz : Universitätsbibliothek Mainz, 2018. http://d-nb.info/1170093167/34.

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23

Franke, Kevin W. „A Performance-Based Model for the Computation of Kinematic Pile Response Due to Lateral Spreading and Its Application on Select Bridges Damaged During the M7.6 Earthquake in the Limon Province, Costa Rica“. BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2748.

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Lateral spread is a seismic hazard associated with soil liquefaction in which permanent deformations are developed within the soil profile due to cyclic mobility. Lateral spread has historically been one of the largest causes of earthquake-related damage to infrastructure. One of the infrastructure components most at risk from lateral spread is that of deep foundations. Because performance-based engineering is increasingly becoming adopted in earthquake engineering practice, it would be beneficial for engineers and researchers to have a performance-based methodology for computing pile performance during a lateral spread event. This study utilizes the probabilistic performance-based framework developed by the Pacific Earthquake Engineering Research Center to develop a methodology for computing probabilistic estimates of kinematic pile response. The methodology combines procedures familiar to most practicing engineers such as probabilistic seismic hazard analysis, empirical compution of lateral spread displacement, and kinematic pile response using p-y soil spring models (i.e. LPILE). The performance-based kinematic pile response model is applied to a series of lateral spread case histories from the earthquake that struck the Limon province of Costa Rica on April 22, 1991. The M7.6 earthquake killed 53 people, injured another 193 people, and disrupted an estimated 30-percent of the highway pavement and railways in the region due to fissures, scarps, and soil settlements resulting from liquefaction. Significant lateral spread was observed at bridge sites throughout the eastern part of Costa Rica near Limon, and the observed structural damage ranged from moderate to severe. This study identified five such bridges where damage due to lateral spread was observed following the earthquake. A geotechnical investigation is performed at each of these five bridges in an attempt to back-analyze the soil conditions leading to the liquefaction and lateral spread observed during the 1991 earthquake, and each of the five resulting case histories is developed and summarized. The results of this study should make a valuable contribution to the field of earthquake hazard reduction because they will introduce a procedure which will allow engineers and owners to objectively evaluate the performance of their deep foundation systems exposed to kinematic lateral spread loads corresponding to a given level of risk.

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Gosteli, Leo. „Blasensteinleiden um 1830: erlebt und erlitten : edition der Briefe des Astronomen Franz Xaver von Zach an den Berner Arzt Rudolf Abraham von Schiferli /“. Bern, 1989. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.

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25

Jongy, Béatrice. „L'écriture de soi au tournant du siècle : une quête ontologique, chez Rilke (les carnets de Malte Laurids Brigge), Kafka (Le journal) et Pessoa (le livre de l'intranquillité)“. Paris 3, 2004. http://www.theses.fr/2004PA030071.

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Les trois diaristes vivent au tournant du XXe siècle, dans un monde en pleine mutation. La crise des valeurs religieuses, du langage et de l'identité, l'anonymat de la grande ville engendrent un profond malaise. L'écriture, dans ces journaux, est celle d'une perte et d'une quête de soi visant à réparer la scission ontologique. Les diaristes cherchent, jour après jour, à se mettre au monde, dans une écriture hantée par la solitude existentielle et la pensée de la mort. Aussi le journal devient-il le théâtre de leur autogenèse. Mais la fictionnalisation de soi conduit le sujet à une multiplication destructrice, une traversée des limbes où la mélancolie côtoie la mort et la folie. La quête ontologique est déviée vers la fondation d'une nouvelle forme de lyrisme, que caractérisent la mort du sujet et un bouleversement de la conception de l'œuvre et de la littérature. Le sujet s'anéantit dans une œuvre-vie. C'est l'écriture de la modernité, voire de la postmodernité, qui émerge ici
The three diarists live at the beginning of the twentieth century, in a changing world. The crisis of religious values, language and identity, the anonymity of the big city generate a profound uneasiness. In these diaries, the writing is one of a loss and of a search of oneself which aims at mending the ontological scission. Day after day, the diarists try to bring themselves to the world, through a writing which is haunted by existential solitude and the thought of death. The diary becomes the scene of their self-genesis. But the self-fictionalisation leads the subject to a destructive multiplicity, a journey through limbo where melancholy is always close to death and insanity. The ontological quest becomes the foundation of a new form of lyricism which is characterized by the subject's disappearance, and by a complete change in the conception of literature. The subject vanishes completely in his work and turns his life into a work of art. Here emerges the writing of modernity, and even of postmodernity

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Bonnet, Dominique. „Brice Michel (1822-1889) et Henri Michel (1854-1930) : deux architectes-paysagistes franc-comtois“. Besançon, 1995. http://www.theses.fr/1995BESA1014.

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Cette thèse est consacrée à la vie et l'œuvre de deux architectes-paysagistes franc-comtois - Brice Michel et son fils Henri Michel - qui, entre 1850 et 1930, ont créé, en Franche-Comté et dans certains départements limitrophes, de nombreux jardins tant publics que privés. En développant dans la région les principes du jardin paysager, Brice Michel a démocratisé le jardin, le mettant à la portée de toutes les classes aisées de la société et offrant des espaces verts aux citoyens des principales villes. Henri Michel a poursuivi l'œuvre de son père agençant, comme lui, des jardins adaptés à la fortune du commanditaire et à la taille du terrain, des jardins pittoresques et fonctionnels dotés d'arbres d'essence rares et agrémentés de rocailles. Mais, au tournant du siècle, il a exprimé en Franche-Comté les nouvelles tendances de l'art des jardins en concevant des jardins réguliers. Brice et Henri Michel apparaissent donc non seulement comme des artistes majeurs de l'histoire des jardins de Franche-Comté par l'importance et la qualité de leur œuvre, mais aussi comme représentatifs, à l’échelle de notre province, de l'art des jardins français de leur époque. Ce travail se présente en trois volumes. Dans le premier volume, leurs vies et leurs carrières respectives sont retracées à partir des éléments retrouvés et leur œuvre décrite et analysée. Le second volume consiste en un catalogue, recensant cent quatorze jardins qu'ils ont créés ou dans lesquels ils sont intervenus. Enfin, le troisième volume regroupe illustrations et pièces annexes.

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Wolff-Thomsen, Ulrike. „Willy Gretor (1868-1923) seine Rolle im internationalen Kunstbetrieb und Kunsthandel um 1900 ; ergänzt um bislang unveröffentlichte Briefe von Willy Gretor an Georg Brandes, Theodor Wolff, Frank Wedekind, Peter Nansen, Alfred Lichtwark, Wilhelm Bode, Agnes Slott-Møller, F. J. Willumsen, Karl Larsen und Max J. Friedländer“. Kiel Ludwig, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2687234&prov=M&dok_var=1&dok_ext=htm.

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Wolff-Thomsen, Ulrike. „Willy Grétor : (1868 - 1923) ; seine Rolle im internationalen Kunstbetrieb und Kunsthandel um 1900 ; ergänzt um bislang unveröffentlichte Briefe von Willy Grétor an Georg Brandes, Theodor Wolff, Frank Wedekind, Peter Nansen, Alfred Lichtwark, Wilhelm Bode, Agnes Slott-Møller, F. J. Willumsen, Karl Larsen und Max J. Friedländer /“. Kiel : Ludwig, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2687234&prov=M&dok_var=1&dok_ext=htm.

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Wolff-Thomsen, Ulrike Gretor Willy Brandes Georg. „Willy Gretor (1868 - 1923) : seine Rolle im internationalen Kunstbetrieb und Kunsthandel um 1900; ergänzt um bislang unveröffentlichte Briefe von Willy Gretor and Georg Brandes, Theodor Wolff, Frank Wedekind, Peter Nansen, Alfred Lichtwark, Wilhelm Bode, Agnes Slott-Møller, F. J. Willumsen, Karl Larsen und Max J. Friedländer /“. Kiel : Ludwig, 2006. http://swbplus.bsz-bw.de/bsz121877965inh.htm.

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Barbour, Kelli D. „Hermine Cloeter, Feuilletons, and Vienna: A Flaneuse and Urban Cultural Archaeologist Wandering Through Opaque Spaces, Bridging Past and Present to Reclaim What Could Be Lost“. Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd513.pdf.

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Chen, Yi-An, und 陳逸安. „Study and Performance of Modern British Cello Repertoire - Frank Bridge “Sonata for Violoncello and Piano”and Arnold Bax“Folk-Tale”“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/67582585160751964563.

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碩士
中國文化大學
音樂學系碩士班西洋音樂組
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Since the Renaissance, the British music has taken an important role in the history of Western musical scene. Until after the Baroque period, this attention has shift to focus on the composers such as Mozart, Haydn, Beethoven and Brahms. The output of the British composition during this period, do not have such creativeness and vital spirit compare to those compositions by composers in the European continent. However, from the late 19th century, there was a revival in the British musical scene. Charles Hubert Hastings Parry, (1848-1918) and Charles Villiers Stanford, (1852-1924) both went to study in Germany and brought back to their homeland this idea of finding and creating their own language in music, which was called the Nationalism. Bax, Bridge and Elgar were their students and followed this trend.This paper is focused on the modern British music, with an introduction on the historical background in the 19th century. Use Frank Bridge’s “Cello Sonata” and Arnold Bax’s “Folk-Tale” as examples to further explore their individual background, and how they have been influences by this Nationalistic trend and what are the compositional traits to create their own language. Through this process of analyzing the music can open the eyes of the interpreter to achieve a deeper understanding of the music in order to have multi-level knowledge to enrich the fantasy in creating sound colors with the interpretation of the connotation.

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Vandertol, Janet Lynn. „Roles of Countess Hunyani in Franz Lehar’s "The Merry Widow" and Ludmilla in Bedrich Smetana’s "The Bartered Bride"“. Thesis, 2003. http://hdl.handle.net/2429/14663.

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The thesis for the Master of Music degree in Opera consists of the performance of two roles in full opera productions. I performed the role of Countess Hunyani in Franz Lehar's "The Merry Widow" on December 12, 2002 and the role of Ludmilla in Bedrich Smetana's "The Bartered Bride" on March 9, 2003.

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Meyerhöfer, Dietrich. „Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler“. Doctoral thesis, 2020. http://hdl.handle.net/21.11130/00-1735-0000-0005-13B0-E.

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Dissertationen zum Thema „Frank Bridge“

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