Dissertationen: „Penderecki“

1

Droba, Krzysztof. „Penderecki nach Iwaschkin“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70566.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

2

Andraschke, Peter. „Penderecki in Donaueschingen“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70573.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

3

Krones, Hartmut. „Krzysztof Penderecki und Wien“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70567.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

4

Loos, Helmut. „Krzysztof Penderecki im deutschen 'Spiegel“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70570.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

5

Malecka-Contamin, Barbara. „Krzysztof Penderecki : style et matériaux“. Paris 8, 1996. http://www.theses.fr/1996PA080920.

Der volle Inhalt der Quelle

Annotation:

La recherche a pour theme krzysztof penderecki : style et materiaux. Elle s'organise et se presente sous trois angles d'approche correspondant aux trois parties respectivement intitulees : "histoire", "analyse", "concept". Dans la premiere, on se propose de donner quelques precisions sur la vie musicale en pologne apres la deuxieme guerre mondiale et sur l'evolution de la composition contemporaine de la musique dite savante. Dans la seconde partie, on procedera a l'analyse des elements du langage, du "sonorisme" et des rapports qu'entretient la partie musicale avec son equivalent litteraire. Enfin la troisieme partie destinee au concept de l'espace sonore va s'interesser a la dialectique du continu et du discontinu du discours sonore et aux relations qu'entretiennent la forme ecrite et la forme vecue de l'oeuvre de penderecki. La recherche, dont la methode est analytique, pour davantage de clarte dans l'evolution stylistique de penderecki, suit l'ordre chronologique de la publication des oeuvres
The theme of this research is k. Penderecki, his style and materials. Its organisation appears according to three different approaches corresponding to three different chapters. History analysis concept the first part intends to present a few pieces of information about musical life in poland after world war ii. It will also explain how the contemporaneous composition of the so-called scholarly music has evolved so far. A second part will carry out an analysis of the elements of language and of "sonorism" as well as of the relationship between the musical element and its litterary equivalent. In the end, the third part, intended for the idea of sound space will be the matter of the dialectif of continuum and discontinuity of sound expression and for the relationship between written representation and real life representation ofpenderecki's works. To make penderecki's stylistic evolution lighter, this research, with its analytic method, follows the chronology of his works publication

APA, Harvard, Vancouver, ISO und andere Zitierweisen

6

Mirka, Danuta. „The sonoristic structuralism of Krzysztof Penderecki /“. Katowice : Music Academy, 1997. http://catalogue.bnf.fr/ark:/12148/cb369654996.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

7

Loos, Helmut, und Stefan Keym. „Krzysztof Penderecki: Musik im Kontext: Konferenzbericht Leipzig 2003“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70554.

Der volle Inhalt der Quelle

Annotation:

Am 17. Oktober 2003 verlieh die Fakultät Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig Krzysztof Penderecki 'als einem Repräsentanten polnischer Kultur im Widerstand gegen den Kommunismus in Anerkennung seiner Verdienste um die Weiterentwicklung der Neuen Musik seit den 1950er-Jahren sowie die deutsch-polnischen Kulturbeziehungen und die Verständigung zwischen den beiden Ländern' die Ehrendoktorwürde. Aus diesem Anlass fand vom 17. bis 19. Oktober 2003 am Institut für Musikwissenschaft der Leipziger Universität eine internationalewissenschaftliche Konferenz statt.:Einleitung Krzysztof Penderecki: Rede anlässlich der Verleihung der Ehrendoktorwürde der Universität Leipzig am 17. Oktober 2003 Mieczysław Tomaszewski: Krzysztof Penderecki. Wandlungen und Knotenpunkte des schöpferischen Weges Ann Gebuhr: Near the Center of the Labyrinth: Krzysztof Pendereckiin the New Millenium Regina Chłopicka: Krzysztof Penderecki's St. Luke Passion, Polish Requiem and Credo in the Context of Polish History Teresa Malecka: Elements of Russian Orthodox Culture in the Oeuvre of Krzysztof Penderecki as Exemplified in Utrenya I and II Allmuth Behrendt: Offen für Veränderung. Modifizierung einer Werkgestalt am Beispiel von Krzysztof Pendereckis Oper Die Teufel von Loudun Stefan Keym: Krzysztof Pendereckis 'Sacra Rappresentazione' Paradise Lost und das religiöse Musiktheater im 20. Jahrhundert Bettina Dissinger : Das musikalische Zitat bei Krzysztof Penderecki - Verwendung und Wirkung Alicja Jarzębska: Krzysztof Penderecki's 'Ars Contrapuncti' Daniela Philippi: Traditionelle Muster als Material. Zur Konzeption der 3. Symphonie Krzysztof Pendereckis Ewa Siemdaj : Types of Climaxes in Krzysztof Penderecki's Symphonic Works Małgorzata Janicka-Słysz : The Idea of Dramaturgy in Instrumental Concertos of Krzysztof Penderecki Rainer Cadenbach: Gattungsbeiträge oder was? Pendereckis Kammermusik für Streicher Roman Kowal: Krzysztof Penderecki's Actions and the Polish Jazz Awakening of the 1950s and 1960s Peter Andraschke: Penderecki in Donaueschingen Stefan Weiss: Penderecki und Ligeti: Zur Rezeption der Klangkomposition in der BRD Dieter Gutknecht: Zur Uraufführungsgeschichte der Lukas-Passion von Krzysztof Penderecki (nach den Unterlagen des Westdeutschen Rundfunks Köln) Helmut Loos: Krzysztof Penderecki im deutschen 'Spiegel' Ray Robinson: Recapitulation through Synthesis: Penderecki's Reception in the United States Milan Slavický: Auswirkungen der 'polnischen Schule' auf die tschechische Musik der 1960er-Jahre Hartmut Krones: Krzysztof Penderecki und Wien Krzysztof Droba: Penderecki nach Iwaschkin Magdalena Chrenkoff : Krzysztof Penderecki in Polish Musicological Writings of the Last Decade (1992 - 2003) Martina Homma: 'Sozialistischer Realismus' und '11. September?' Über Reaktionen und Überreaktionen auf Krzysztof Pendereckis Klavierkonzert (2002)

APA, Harvard, Vancouver, ISO und andere Zitierweisen

8

Tomaszewski, Mieczysław. „Krzysztof Penderecki: Wandlungen und Knotenpunkte des schöpferischen Weges“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70676.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

9

Dissinger, Bettina. „Das musikalische Zitat bei Krzysztof Penderecki: Verwendung und Wirkung“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70768.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

10

Kelly, Michael. „An Exploration of Pitch Organization in Krzysztof Penderecki’s Passion According to Saint Luke“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296593846.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

11

Jeong, Hye Min. „Das musikalische Material und seine Behandlung im Frühwerk von Krzysztof Penderecki : eine Studie zum Cluster und zur Klangfarbe /“. Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2007. http://catalogue.bnf.fr/ark:/12148/cb41068005h.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

12

Weiss, Stefan. „Penderecki und Ligeti: Zur Rezeption der Klangkomposition in der BRD“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70572.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

13

Janicka-Słysz, Małgorzata. „The Idea of dramaturgy in instrumental concertos of Krzysztof Penderecki“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70764.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

14

Jarzębska, Alicja. „Krzysztof Penderecki's 'Ars contrapuncti“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70767.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

15

Chŏng, Hye-min. „Das musikalische Material und seine Behandlung im Frühwerk von Krzysztof Penderecki : eine Studie zum Cluster und zur Klangfarbe“. Frankfurt am Main [u.a.] Lang, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015673967&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

16

Penderecki, Krzysztof. „Rede anlässlich der Verleihung der Ehrendoktorwürde der Universität Leipzig am 17. Oktober 2003“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70579.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

17

Siemdaj, Ewa. „Types of Climaxes in Krzysztof Penderecki's Symphonic Works“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70765.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

18

Philippi, Daniela. „Traditionelle Muster als Material: Zur Konzeption der 3. Symphonie Krzysztof Pendereckis“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70766.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

19

Keym, Stefan. „Krzysztof Pendereckis 'Sacra Rappresentazione' Paradise Lost und das religiöse Musiktheater im 20. Jahrhundert“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70769.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

20

Behrendt, Allmuth. „Offen für Veränderung: Modifzierung einer Werkgestalt am Beispiel von Krzysztof Pendereckis Oper Die Teufel von Loudun“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70770.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

21

Chrenkoff, Magdalena. „Krzysztof Penderecki in Polish Musicological Writings of the Last Decade (1992-2003)“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70565.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

22

Gebuhr, Ann. „Near the Center of the Labyrinth: Krzysztof Penderecki in the New Millenium“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70677.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

23

Hubley, Katherine Louise. „Site and Sanctuary in Holocaust Memorial Compositions by Krzysztof Penderecki and Ruth Fazal“. Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242675619.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

24

Cadenbach, Rainer. „Gattungsbeiträge oder was?: Pendereckis Kammermusik für Streicher“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70563.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

25

Daley, Paul B. (Paul Byron). „An Investigation of Textural Activity and Its Hierarchical Structures in Selected Works by Krzysztof Penderecki“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500894/.

Der volle Inhalt der Quelle

Annotation:

This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio for oboe and strings.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

26

Gutknecht, Dieter. „Zur Uraufführungsgeschichte der Lukas-Passion von Krzysztof Penderecki: (nach den Unterlagen des Westdeutschen Rundfunks Köln)“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70571.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

27

Sturman, Esra. „Krzysztof Penderecki’s Divertimento/suite for Cello Solo (1994-2013): a Stylistic Analysis and Performance Guide“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500083/.

Der volle Inhalt der Quelle

Annotation:

Penderecki made a tremendous variety of contributions to the cello repertoire. His profound respect for tradition and for his past is deeply appreciated by both performers and audiences. In each individual composition, he explored the cello’s sonorous possibilities and created a new technical and musical palette for the instrument. He worked with legendary, world-renowned cellists who not only gave the premieres of his works but also established deep friendships with him. The Divertimento/Suite for Cello Solo (1994-2013), a compilation of miniature movements, each with its sophisticated structure, demonstrates Penderecki’s three compositional style periods. Baroque and Romantic elements in each movement are achieved within their style characteristics. Penderecki’s Divertimento/Suite for Violoncello Solo is composed of eight contrasting movements that were written during a nineteen-year period. The work is characterized by a Neo-Romantic aesthetic and utilizes the cello’s dark lyrical tones with a variety of timbre and tonal contrasts. The purpose of the present study is to create a practical performance guide to this important musical work with a detailed stylistic, textural, and motivic analysis of all eight movements. Although there are many published documents and analyses of Penderecki’s orchestral, choral, chamber and other solo pieces, the Divertimento/Suite for Cello Solo has yet to be thoroughly researched and discussed in the extant cello literature. It is the lack of research concerning this work that prompts this important study. This analysis will serve to outline the unifying compositional procedures of the work and explain the special instrumental techniques employed. With its illustrations of the motivic, harmonic and the textural relationships of each movement, this study serves as a twentieth-century performance guide for the cello world.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

28

Cain, Peter L. „A “Farewell” to His Past: Krzysztof Penderecki’s Clarinet Quartet and Sextet“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336683462.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

29

Malecka, Teresa. „Elements of Russian Orthodox Culture in the oeuvre of Krzysztof Penderecki as exemplified in Utrenya I and II“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70679.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

30

Robinson, Ray. „Recapitulation through Synthesis: Penderecki's Reception in the United States“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70569.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

31

Poston, Paul W. „On the Creation of Matter“. FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/417.

Der volle Inhalt der Quelle

Annotation:

On the Creation of Matter is a ten-minute composition for orchestra in which I explore large-scale musical texture through the use of uncommon orchestral techniques. The piece is comprised of three major sections: the introduction of space and time, the event, and the culmination. Each section features new textures while retaining harmonic references to earlier material. Heavily influenced by the works of György Ligeti and Krzysztof Penderecki, On the Creation of Matter musically captures the initial stillness of space and time and follows their transformation through a major astronomical event. In On the Creation of Matter I use concepts first explored by Ligeti and Penderecki and manipulate them to create a fully original new work for the concert stage.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

32

Homma, Martina. „Sozialistischer Realismus und '11. September'?: Über Reaktionen und Überreaktionen auf Krzysztof Pendereckis Klavierkonzert (2002)“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70564.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

33

Chlopicka, Regina. „Links between Penderecki's Music and the Polish National Tradition“. Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21346.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

34

Kowal, Roman. „Krzysztof Penderecki's Actions and the Polish Jazz Awakening of the 1950s and 1960s“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70574.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

35

Slavický, Milan. „Auswirkungen der 'polnischen Schule' auf die tschechische Musik der 1960er-Jahre“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70568.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

36

Loos, Helmut, und Stefan Keym. „Einleitung“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70578.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

37

Chłopicka, Regina. „Krzysztof Penderecki's St. Luke Passion, Polish Requiem and Credo in the Context of Polish History“. Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70678.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

38

Kiwała, Kinga. „Zum Problem der Dialektik in der Musik: Krzysztof Pendereckis Musik in den späten siebziger und frühen achtziger Jahren des 20. Jahrhunderts“. Gudrun Schröder Verlag, 2019. https://ul.qucosa.de/id/qucosa%3A70775.

Der volle Inhalt der Quelle

Annotation:

Die Dialektik des künstlerischen Schaffens nach Władysław Strózewski 'Pendereckis Werk ist eine große musikalische Umsetzung der Dialektizität. Einer Dialektizität, die sich zwischen Extremen erstreckt, diese Extreme irgendwie aufhebt, dabei aber zugleich ihre Existenz stets aufrechterhält.' So äußerte sich über die Musik des Schöpfers des Polnischen Requiems in den siebziger Jahren des vergangenen Jahrhunderts Władysław Strózewski, einer der führenden polnischen Phänomenologen, ein Schüler Roman Ingardens, der ins Zentrum seiner Kunstphilosophie das Problem der „Dialektik des Schaffens“ stellte. Ausgangspunkt und These für Strózewskis Überlegungen ist die Überzeugung, dass das künstlerische Schaffen wesensmäßig dialektisch ist.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

39

Embeoglou, Michail. „La notion de texture dans la musique post-sérielle“. Paris 4, 1997. http://www.theses.fr/1997PA040055.

Der volle Inhalt der Quelle

Annotation:

Cette thèse examine les diverses applications de la notion de texture dans la musique contemporaine. Introduit en 1959 par le compositeur Gyorgy Ligeti comme élément indispensable de la composition, la texture sera la préoccupation majeure pour de nombreux compositeurs dans les années 1960. C'est a ce titre que la musique de texture est considérée aujourd'hui comme le premier courant musical d'importance après le sérialisme intégrale. Notre thèse examine l'application que ce terme a su trouver dans quatre domaines différents de la composition musicale : le choix des sonorités, l'écriture, l'orchestration et l'articulation formelle. L'analyse de trois œuvres pour orchestre de l'époque (apparitions (1959) de Gyorgy Ligeti, thrène à la mémoire des victimes d'Hiroshima (1961) de Krzysztof Penderecki et Metastaseis (1954) d'Iannis Xenakis) nous a fourni les éléments essentiels pour une évaluation esthétique de ce courant musical que nous considérons l'équivalent en musique de l'art informel en peinture
This thesis treats of the different aspects of musical texture in post-serial music. The term texture music is applied to many orchestral works or the 1960 in which the main concern is the manipulation of sound masses or blocks of sounds defined by general properties such as densities and loudness. The term was introduced in 1959 by composer Gyorgy Ligeti. In our thesis we have treated of four particular aspects of texture : sonorities, musical writing, orchestration, and formal elaboration. The analysis of three major orcgestral works of the period (Gyorgy Ligeti's apparitions (1959), Krzysztof Penderecki's threnody to the victims of Hiroshima (1961) and Iannis Xenakis' Metastaseis (1954) provided us with the essential elements for an aesthetic evaluation of texture music which we consider inaugurates the post-serial period and is the equivalent in music of abstract expressionism in painting

APA, Harvard, Vancouver, ISO und andere Zitierweisen

40

Fryklund, Aaron. „Perspectives on The passion according to the gospels of Matthew and John“. Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9780.

Der volle Inhalt der Quelle

Annotation:

Oratorio, for baritone (Jesus), male or female narrator (Evangelist), tenor (Pilate), 2 basses (Peter, Caiaphas), soprano woman accusing Peter), chorus (SATB), organ, string orchestra, and tape. Texts from Matthew, John, and Psalms. Duration: 33:00. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 47).

APA, Harvard, Vancouver, ISO und andere Zitierweisen

41

Bringezu, Nicole [Verfasser]. „Rezeption und Konstruktion. Aspekte ‚wissenschaftlicher‘ Legitimation musikästhetischer Kommunikation am Beispiel KRZYSZTOF PENDERECKIS / Nicole Bringezu“. Wuppertal : Universitätsbibliothek Wuppertal, 2020. http://d-nb.info/1223989240/34.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

42

Wang, Amanda. „An analysis of Krzysztof Penderecki's String Quartet No.3: "Leaves of an Unwritten Diary"“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/12876.

Der volle Inhalt der Quelle

Annotation:

Thesis (D.M.A.)--Boston University
Penderecki's String Quartet No. 3: Leaves from an Unwritten Diary was commissioned by the Shanghai Quartet in 2008 and premiered at a special 75th birthday concert honoring the composer. The quartet is a single movement work consisting of four to five short sections of contrasting tempos and character. Stylistically, the quartet is quite representative of his chamber works since the 1990's, and stands in sharp contrast to the first two quartets from the avant-garde period. The purpose of this dissertation is to provide an historical background, formal and linear analysis, and discussion ofthe challenges of interpreting this contemporary work, which has very little performance precedence.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

43

Reiter, Erica Amelia 1968. „Krzysztof Penderecki's Cadenza for Viola Solo as a derivative of the Concerto for Viola and Orchestra: A numerical analysis and a performer's guide“. Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289622.

Der volle Inhalt der Quelle

Annotation:

The intent of this study is to explore the musical, structural, and intervallic relationship between Krzysztof Penderecki's two works for viola, the Concerto for Viola and Orchestra and Cadenza for Viola Solo. The Concerto for Viola is a twenty-minute work accompanied by full orchestra; the Cadenza for Viola Solo is an eight-minute solo work. In these viola works, Penderecki has encapsulated the characteristics of the viola: the tone, technical capacity, and character. Both of Penderecki's viola works demand and reinforce the unique qualities of the viola. This document provides a performance guide to help a performer develop more insight and understanding of the viola's individual qualities that are represented in these pieces. The comparison between the Concerto for Viola and Cadenza for Viola Solo is discussed in three sections. First, the two works are divided into logical sections and compared to one another in a parametric structure chart. The musical and structural features discussed in the performance analysis include motivic elements, articulations, rhythmic ideas, dynamics. The highest tier consists of larger concepts, such as structure, phrasing, and sequential patterns. The lower tiers focus on detailed comparisons including dynamics, note patterns, and fingerings. These musical and structural analyses of the Concerto for Viola and Cadenza for Viola Solo are represented in flowcharts. These flowcharts evaluate, along an aerial view, similarities and dissimilarities between sections, the merging of one section with another, and the formal structure of the two works. The second analysis is a process based on applying to each pitch a specific numerical value. Each pitch is assigned a designated number, and the two pieces are compared solely on these numbers. The numbers indicate the intervallic relationships of motives, phrases, and sequences of each work. The numerical comparisons demonstrate consistent correlations between the two works that are not evident through other methods of analysis. Finally, the Cadenza for Viola Solo is analyzed from a performer's perspective. These performance issues focus on certain sections that require more detailed guidance, inclusive of bowing technique, shifting options, vibrato, and dynamic considerations.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

44

Chang, Po-Jung, und 張珀榮. „A Study of Capriccio für Tuba solo by Krzysztof Penderecki“. Thesis, 2014. http://ndltd.ncl.edu.tw/handle/7mzeq9.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

45

„A Comparative Analysis of the Two Sonatas for Violin and Piano by Krzysztof Penderecki“. Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38612.

Der volle Inhalt der Quelle

Annotation:

abstract: One of the most notable composers of the twentieth century, Krzysztof Penderecki played a vital role in the development of new sonorities and compositional movements in the latter half of the century. Penderecki wrote two sonatas for violin and piano, one in his student days in 1953 and the second in the twilight of his career in 1999. Given the almost fifty years that separate the two works, these sonatas provide valuable insight to Penderecki’s development as a composer over the course of his career as well as give evidence that his own unique compositional style was in place at a very early age. Despite the large span of time between the completions of these two great works, these sonatas share many commonalities. With regards to key aspects such as form, tonality, rhythm, texture, articulation, and more, this paper will analyze and compare the two works to define the ways in which they are similar as well as the ways in which they differ.
Dissertation/Thesis
Doctoral Dissertation Music 2016

APA, Harvard, Vancouver, ISO und andere Zitierweisen

46

Keym, Stefan. „Internationale musikwissenschaftliche Konferenz ”Krzysztof Penderecki - Musik im Kontext“: Leipzig, 17. bis 19. Oktober 2003“. 2004. https://ul.qucosa.de/id/qucosa%3A15815.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

47

Kroko, Kate. „Graduate Recital, Viola“. 2012. http://digital.library.duq.edu/u?/etd,154246.

Der volle Inhalt der Quelle

Annotation:

This recital explores the solo viola literature of the 20th and 21st centuries. Pieces range in date from 1922 to 2005 and present the various styles and techniques of virtuoso viola playing developed in the modern era. The selection of pieces presented on this recital chronicles the viola��s journey to become a legitimate solo instrument in the 20th century. Works performed include: Cadenza per viola sola by Krzysztof Penderecki, Purple Rhapsody for Viola and Orchestra by Joan Tower, Suite for Viola Solo (Unfinished) by Ernest Bloch, Lamentations of Jeremiah for Viola Solo by Milton Barnes, and Sonata for Viola and Piano Op. 25 No. 4 by Paul Hindemith. Works by both male and female composers are presented, and a wide variety of compositional styles are represented, including works by Polish, American, Canadian, and German composers. <br>Works performed encompass three periods of the modern era: Hindemith - early 20th century, Bloch and Barnes - mid-20th century, Penderecki and Tower - present day.
Mary Pappert School of Music;
Music Performance
MM;
Recital;

APA, Harvard, Vancouver, ISO und andere Zitierweisen

48

Dissinger, Bettina. „Internationales Symposium ”Krzysztof Penderecki - Muzyka ery intertekstualnej / Music of the Intertextual Era“: Krakau, 12. bis 14. Dezember 2003“. 2004. https://ul.qucosa.de/id/qucosa%3A15819.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

49

Chen, Hsiao-Yin, und 陳筱茵. „Hsiao-Yin Chen Viola Recital With A Supporting Paper:A study on Viola Concerto by Krzysztof Penderecki: Interpretation and Analysis“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/33973659741665647202.

Der volle Inhalt der Quelle

Annotation:

碩士
國立交通大學
音樂研究所
99
The research subject of this thesis is the viola concerto by the Poland composer Krzysztof Penderecki, written in 1983. The paper also mentioned the other work “Viola Cadenza” by Krzysztof Penderecki in 1984, which uses common basics and shares the connection with the concerto. By tracing the composer’s musical studies and life experiences, much can be understood about his compositional characteristic, the various stages of his musical styles and the principles that he holds for music writings. The quest of a truthful performance of the concerto is to be based on the interpretation and analysis of its structure, the resolution of the technical difficulties and the understanding of the composer’s music language in this work. Through the research, hoping to find and achieve a total expression of the composer’s thoughts conveyed in the music.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

50

Lai, Yen-lin, und 賴彥陵. „Contemporary Composers'' War Experiences and the Related Works: Case Studies on the Music of Messiaen, Schoenberg, Penderecki and Britten“. Thesis, 2010. http://ndltd.ncl.edu.tw/handle/jgtxus.

Der volle Inhalt der Quelle

Annotation:

碩士
國立臺北藝術大學
音樂學研究所碩士班
98
Wars have been reoccurring in human history, regardless of the fact that they have brought the world nothing but destruction and death. In early twentieth century, the rise of imperialism and industrial revolutions accelerated the developments in science and technology. These progressions, along with racial and political conflicts, inevitably led to the World Wars. The cruelty and bloody catastrophe of both World Wars have made people realize the preciousness and value of life. They have also stimulated people to desire and pursue peace. Composers who similarly experienced the World Wars have tried to present their feelings about wars, such as fear, sorrow, anger and anti-war attitudes, in their musical works. In this thesis, I will use Messiaen’s Quatuor pour la Fin du Temps, Schoenberg’s A Survivor from Warsaw, Penderecki’s Threnody to the Victims of the Hiroshima and Britten’s War Requiem as the cases to analyze the languages and characteristics expressed in their music. Furthermore, I would like to understand to what extent the experiences from the World Wars affected these composers’ lives; and how their musical works, in turn, reflected the composers’ feelings and views on wars.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Dissertationen zum Thema „Penderecki“

Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an