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SIMONETTA, FEDERICO. "MUSIC INTERPRETATION ANALYSIS. A MULTIMODAL APPROACH TO SCORE-INFORMED RESYNTHESIS OF PIANO RECORDINGS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/918909.
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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of
how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical
framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the
“interpretation” – the action that the performer wishes to achieve. Second, the Thesis describes further works aiming at the democratization of music production tools via automatic resynthesis: 1) it elaborates software and file formats for historical music archiving and multimodal machine-learning datasets; 2) it explores and extends MIP technologies; 3) it presents the mathematical foundations of the MIA framework and shows preliminary evaluations to demonstrate the effectiveness of the approach
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Frydén, Kristensson Ludwig. "Telemanns Trumpetkonsert : Interpretation och analys barocktrumpet och piccolatrumpet." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3166.
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Rydsäter, Kaufman André. "J.S. Bachs Chaconne : Teknik, Analys och Interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3528.
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J.S. Bachs Chaconne är den sista satsen från Partita nr. 2 i d-moll för Soloviolin och är med sina 257 takter längre än svitens alla andra satser tillsammans. Den är idag betraktad som ett av de mest tekniskt och musikaliskt utmanande stycken som någonsin har skrivits för violin, och innehåller samtliga för tiden kända aspekter av violinteknik. Föreliggande studie behandlar först en musikteoretisk analys av Chaconne, följt av en kartläggning av styckets underliggande koraler och avslutningsvis en undersökning av anknytningen till Bachs hustru Maria Barbara Bachs plötsliga frånfälle. Studiens resultat påvisar att det inte bara förekommer totalt elva av Bachs egna koraler inkorporerade i stycket, utan även en numerologisk och musikvetenskaplig anknytning till M.B. Bach. Dessa upptäckter åskådliggör att närmare analys berikar framförarens interpretation av Chaconne i synnerhet, och övrig musik i allmänhet.
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Harvey, David I. H. "The later music of Elliott Carter : a study in music theory and analysis." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c47d92da-277e-4850-9e3b-e5e0cd93308f.
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Any composer's writings form an important source for the critical study of his music: they must nevertheless be used with care, Carter's writings are considered as part of a tradition in American music. His musical development up to 1959 is briefly sketched, with particular reference to those elements which with hindsight can be seen to have been most significant in the evolution of a mature musical language - various experimental and non-western musical traditions, influences from other domains of art, and the philosophy of A. N. Vhitehead. In order to avoid the spectre of 'merely technical analysis' of atonal music, we need an analytical approach which can describe the way in which the characteristic properties of a musical surface (principally pitch register and duration; secondarily dynamic and timbre) act to create larger structures in time. Pitch-class Set Theory is rejected as embodying an unacceptable level of abstraction, and failing to account for the dynamic, developmental aspects of musical structure, Instead, a more flexible and sensitive method is developed, drawing on an alternative analytical tradition for twentieth-century music. Precedents and justifications for this method are sought in contemporary accounts of structure in general, and parallels and distinctions are drawn between the hierarchic structures of tonal music, atonal music, and language, This context-sensitive analytical approach is then applied to three of Carter's most characteristic works: the String Quartet no.2 (1959); the Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961); and the Concerto for Orchestra (1969).
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Hinz, Christophe. "Analyse und Performance mit der Software "Rubato" : zur Synthese einer computergestützten Interpretation zweier Etüden von Chopin." Osnabrück Electronic Publ, 2006. http://www.epos.uni-osnabrueck.de/music/templates/buch.php?id=67.
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Lejonklou, Martin. "Presto i en tidig Beethovensonat : En jämförande analys av notbild och andra pianisters inspelningar, som verktyg i egen lärandeprocess." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84767.
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Syftet med denna studie är att formulera ny kunskap om analysens betydelse, till nytta för egen lärandeprocess. Första satsen ur Beethovens sjunde pianosonat står i fokus, där jag undersöker hur ett tvådelat analysverktyg utvecklar egen musikalisk gestaltning vid instrumentet; analys avdels notbild, dels en jämförande analys av fem olika inspelningar med erkända pianister. Urvalet inspelningar är baserat på variation i fråga om karaktär och inspelningsår, för att söka nå en vid syn på hur Beethovens sats interpreterats genom de senaste 75 åren. Analysen av notbild består av ackord- och funktionsanalys samt en beskrivning av satsens sonatform, vidare hur teman och motiv används i musiken. Den jämförande analysen utgörs av en studie utvalda takter ur olika delar av satsen, med fokus på fyra parametrar: tempo, rubato, artikulation och dynamik. Trots att jag inte är helt nöjd med min inspelning, menar jag att arbetets helhet ändå uppfyller uppsatsens syfte. Studiens resultat visar att analysen av notbild samt den efterföljande jämförande analysen, hjälper mig få en mångfacetterad syn på satsen, såväl avseende helheten som på detaljnivå. Den kontrasterande karaktären av de valda interpreternas ljuddokument, och deras olika förhållningssätt till musiken, ger mig ett brett spektrum av intryck och uttryck, från vilka jag kan hämta inspiration i egen lärandeprocess. För ännu bättre förståelse av denna musik, skriven för tidigare klaverinstrument än en modern konsertflygel, identifierar jag ett nödvändigt behov av att själv använda ett fortepiano vid musikalisk gestaltning av Beethovens tidiga pianomusik. Vid sådant instrument kan lärandeprocessen på ett än mer naturligt sätt ta sin utgångspunkt i uppförandepraxis, som instrumentet ger tekniska och klingande förutsättningar till. Själva instrumentet blir en pedagog. Inriktningen på mina stundande master-studier klarnar!
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Hinz, Christophe. "Analyse und Performance mit der Software "Rubato" zur Synthese einer computergestützten Interpretation zweier Etüden von Chopin." Osnabrück epOs Music, 2004. http://www.epos.uni-osnabrueck.de/music/templates/buch.php?id=67.
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Bacovis, Andrey Costa. "Elementos formais, texturais e interpretativos nas sonatas para piano de João Domingos Bomtempo (1775-1842) /." São Paulo, 2017. http://hdl.handle.net/11449/151901.
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Orientador: Nahim Marun FilhoBanca: Eduardo Seincman
Banca: Luiz Brito Passos Amato
Abstract: This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo's piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo's Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities.
Resumo: Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas.
Mestre
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Madar, Armaan. "Kaija Saariaho’s Quatre Instants from a pianist’s point of view : an interpretation of the song cycle." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3630.
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The purpose of this study is to examine Kaija Saariaho's song cycle Quatre Instants for soprano and piano and to present a possible interpretation of it. I have made an analysis of the song cycle, which focuses mainly on the relation between the song text and the piano part. This has led to forming a detailed interpretation of the song cycle. The study contains also Saariaho's biography in order to support the analysis with background information. Both the background information and the analysis have immensely influenced upon my interpretation of the song cycle.The sounding part of the work consists of the following recording: ljud. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording is archived and may be supplemented.
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Heinemann, Alma. "En fri interpretation : En analys kring olika instruments påverkan på interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2993.
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Adagio und Allegro op. 70 är ett stycke för valthorn och piano av Robert Schumann (1810– 1856). Den skrevs 1849 av Schumann, ett år som han ägnade mycket åt att skriva för soloinstrument med piano. Adagio und Allegro finns även utgivet för andra soloinstrument än valthorn, bland annat violoncell, violin, oboe och tuba. Syftet med studien är att utföra en interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano som jag vill ha det rent musikaliskt och inte för att jag spelar valthorn. Jag kan uppleva att vi ibland styrs lite för mycket av vilket instrument vi spelar, att det ibland står i vägen för vår musikaliska interpretation. Jag har valt tre instrument jag kommer studera, dessa är valthorn, oboe och cello. Jag har jämfört notutgåvor, med utgångspunkt från min hornutgåva och inspelningar från tre instrumentalister per instrument. Detta för att försöka få en bred bild av hur stycket tolkas på olika instrument. Jag upptäckte att det finns en hel del skillnader mellan notutgåvorna. De flesta av skillnaderna är för att anpassa verket efter det instrument som ska spela. Dock innehöll oboestämman betydligt fler och större nyansskillnader än horn- och cellostämman. Mellan instrumentalisterna jag lyssnade på var det också stor skillnad. Jag upplevde att cellisterna generellt spelade mest uttrycksfullt och expressivt, men också att det varierar från musiker till musiker. Min slutsats av detta är att vi lätt låter vårt instrument styra mer än vi tror över vår interpretation. Dock upplever jag att flera av de modernare instrumentalisterna är lite mer fria än de äldre. Att vi mer och mer söker den tolkning vi vill ha musikaliskt och inte styrs av hur man ”bör” spela. Jag anser att vi går åt rätt riktning.För fullständig info om examenskonserten, repertoar samt medverkande se bilaga med programmet. I ljudfilen finns endast Adagio und Allegro op. 70 av Robert Schumann med. Där spelar Alma Heinemann valthorn och Katarina Ström-Harg piano. Ljudfilen är från konserttillfället.
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Nadai, Robson Alexandre de. "Sonata para trombone e piano de Almeida Prado : uma analise interpretativa." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284338.
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Orientador: Roberto Cesar PiresDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T14:44:34Z (GMT). No. of bitstreams: 1 Nadai_RobsonAlexandrede_M.pdf: 25475745 bytes, checksum: df71590de86e486da8c9f06689cfd48b (MD5) Previous issue date: 2007
Resumo: Esta dissertação de mestrado refere-se à Sonata para Trombone e Piano de Almeida Prado. Essa obra foi extraída da Sonata nº 3 para Piano solo do mesmo compositor. A peça é contextualizada através de informações obtidas com o próprio Almeida Prado, por meio de entrevista. Foram realizados dois tipos de análise: análise de material da Sonata para Trombone e Piano e análise comparativa entre a Sonata para Trombone e Piano e a Sonata nº 3 para Piano. A primeira mostra a macroestrutura da peça, os elementos que a compõem e faz uma abordagem pormenorizada de material, assim como um estudo da forma fazendo uma analogia entre a estrutura da Sonata para Trombone e Piano e a da sonata clássica, evidenciando os elementos que elas compartilham. A segunda mostra as semelhanças e diferenças entre as peças bem como uma explanação sobre o processo de permutação utilizado pelo compositor na elaboração da Sonata para Trombone e Piano. O resultado das análises mostrou que as peças são distintas apesar de utilizarem o mesmo material. A dissertação é concluída com um capítulo destinado aos trombonistas, com exercícios técnicos e sugestões para a interpretação da Sonata para Trombone e Piano
Abstract: This master's degree dissertation refers to the Sonata for Trombone and Piano by Almeida Prado. This piece was taken from Sonata no.3 for Piano solo by the same composer. The piece is contextualized through information obtained with the Almeida Prado, through interview. Two types of analysis were performed: analysis of material from Sonata for Trombone and Piano and comparative analysis between the Sonata for Trombone and Piano and the Sonata no. 3 for Piano. The first one shows the macro structures of the piece, the elements that constitute it and detailed approach of material, as well as a study of the form making an analogy between the structure of the Sonata for Trombone and Piano and the classic sonata, evidencing the elements they share. The second analysis shows the likenesses and differences between both pieces as well as an explanation about the permutation process used by the composer in the elaboration of the Sonata for Trombone and Piano. The result of the analyses showed that the pieces are distinct in spite of utilizing the same material. The dissertation is concluded with a chapter destined for trombonists, with technical exercises and suggestions for the interpretation of the Sonata for Trombone and Piano
Mestrado
Praticas Interpretativas
Mestre em Música
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Johansen, Anna. "Interpretatorisk analys av Paul Crestons Sonata för Saxofon i Ess och Piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4049.
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Paul Creston var en nytänkande och delvis självlärd kompositör som år 1939 komponerade en sonat för saxofon och piano. Syftet med detta arbete var att genom en analys av Crestons sonat ge en enskild musiker ökad förståelse för musikaliska utmaningar. Genom en systematisk analysmetod uppbyggd av musikaliska former, teman, motiv och harmonik analyserades verket. Analysen utfördes först satsvis och därefter analyserades verket som helhet. Resultatet visade på att en djupgående musikalisk analys förbättrar musikerns interpretation och tolkning. Vidare presenterades även resultatet att musikanalys som verktyg i inövningen kunde förkorta själva inlärningsfasen i övningen. Diskussionen visade slutligen på att denna studie krävde fler liknande studier med större omfång för att med säkerhet stärka resultaten.Inspelning bifogas med
Sonata för altaxofon i ess och piano, opus 19 Paul Creston Medverkande musikerAnna Johansen - saxofon Mårten Landström - piano
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Granath, Joline. "Analysens påverkan på musikalisk interpretation : en analys av Alborada del gracioso av Maurice Ravel." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2292.
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I detta examensarbete analyseras Alborada del gracioso ur Miroirs av den franske kompositören och pianisten Maurice Ravel, främst ur ett motiviskt och strukturellt perspektiv. Analysen innefattar även reflektioner kring några av författarens interpretationsmässiga val och lösningar på vissa tekniska problem. Syftet med studien är att undersöka om och hur en analys av verket påverkar interpretationen av detsamma. Studiens resultat påvisar att analysen kan leda till en förändring av interpretationen, på grund av att den ger en djupare förståelse av verket och ger möjlighet till mer välmotiverade val i interpretationen.
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Hawley, Laura. "Jazz improvisation, analysis, and interpretation: Three performances of "Honeysuckle Rose" by Ella Fitzgerald." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27520.
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This thesis develops a framework for analyzing melodic improvisation on a jazz standard in order to explore how the improvisation relates to the original melody and harmony of the song. Using three recorded performances of "Honeysuckle Rose" by Ella Fitzgerald, the analytic method reveals the complex web of melodic and harmonic relationships in her improvisational style and musical craft.
The first chapter outlines important terminology and addresses the use of transcription as a tool for analyzing recorded performance. The second chapter explores current practices in jazz analysis and discusses strategies for jazz improvisation. Drawing on the work of prominent jazz analysts (Larson, Kernfeld, Hodson) these chapters lead to the formulation of a three-stage model for analyzing melodic jazz improvisation.
The third and fourth chapters present an analysis of Thomas "Fats" Waller's "Honeysuckle Rose," comparing analytic information gleaned from performance transcriptions and the lead-sheet. This analysis illustrates the utility of a model that allows the analyst to simultaneously consider aspects of form, melody, and harmony.
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Rubio, Carrion Maria. "Performance and analysis of Brahms quintet op. 115 for clarinet and string quartet : Searching for a deeper interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4156.
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In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed. From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece. After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.
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Teng, Chi-Chuan. "\"Xianshi,\" the Viola Concerto by Yi Chen : general analysis and issues of performance interpretation /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978856.
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Stange-Elbe, Joachim. "Strukturelle Analyse als Grundlage musikalischer Interpretation." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36663.
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Sandén, Ingrid. "Personlig färgning eller tradition? : En komparativ studie i musikalisk interpretation." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13444.
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Den här uppsatsen handlar om det som inom västerländsk konstmusik benämns interpretation eller tolkning, d.v.s. den process som börjar med artistens studium av musikverkets noterade förlaga och slutar med det klingande resultatet. Uppsatsens fokus är det sistnämnda – artistens musikaliska gestaltning av ett verk. Syftet är att studera det estetiska spänningsfält som finns inom interpretationskonsten: å ena sidan hyllas det personliga och unika; å andra sidan finns konventioner om vad som är rätt och fel i en tolkning. Materialet för uppsatsens undersökning är fyra världspianisters inspelningar av Frédéric Chopins postuma Nocturne KK IVa Nr.16 i ciss-moll. Pianisterna är Wladyslaw Szpilman, Claudio Arrau, Roland Pöntinen och Garrick Ohlsson. Undersökningen är komparativ; de fyra pianisternas inspelningar jämförs utifrån ett antal förutbestämda variabler med målsättningen att dels få grepp om den personliga dimensionen i deras interpretationer, dels fastställa eventuella gemensamheter i desamma. Det sistnämnda skulle då kunna betraktas som exempel på interpretationskonventioner, vilka sätter gränser för det personliga i en tolkning. Den musikanalytiska metod som används är den auditiva musikanalysen, d.v.s. analysen utgår från ett aktivt lyssnande på musikens förlopp. Chopins noterade förlaga utgör dock en viktig referens. Resultatet av interpretationsanalyserna visar att de fyra pianisterna gör fyra olika, personligt färgade tolkningar av Chopins komposition. Men de visar samtidigt att mycket av det ”personliga” sker inom ramar för musikaliska ställningstaganden som verkar vara gemensamma för de fyra. Här är det motiverat att tala om interpretationskonventioner i frågan om Chopins pianomusik. Men då inspelningarna är hämtade från en tidsperiod på närmare 60 år vore begreppet interpretationstradition lika korrekt. Slutsatsen blir att de fyra pianisternas personligt färgade tolkningar är resultatet av individuella förhållningssätt till såväl det noterade som till icke-noterade interpretationstraditioner. Uppsatsen visar också att konstmusikens ”notbundenhet” ändå öppnar för stor personlig variation, liksom att det inom genren existerar ”gehörstraditioner” där var och en sätter sin prägel utifrån det som han eller hon har hört andra göra.This paper deals with what we in Western Art music call interpretation or practice, that is, the process that begins with the artists’ study of the notated model of the musical piece and ends with the sounding result. The focus of the paper is the latter - the artists’ musical performance of a piece. The purpose is to study the aesthetical divergence that is contained within the art of interpretation: on one hand the personal and unique is celebrated; on the other hand there are conventions about what is considered right and wrong in an interpretation. The material that is used in the study is four recordings by world-class pianists of Frédéric Chopin’s posthumous Nocturne KK IVa Nr.16 in C sharp minor. The pianists are Wladyslaw Szpilman, Claudio Arrau, Roland Pöntinen and Garrick Ohlsson. The investigation is comparative; the recordings of the four pianists are compared from several predetermined variables with the goal on one hand being to understand the personal dimension of their interpretations and on the other hand, to define possible commonalities of the same. Thus, the latter could be regarded as an example of conventions of interpretation, which define the boundaries regarding the personal dimension of an interpretation. The method of musical analysis that is used is the auditive musical analysis, that is, the analysis is based upon an active listening to the sequence of the music. However, Chopin’s notated model makes for an important reference. The result of the interpretation analyses indicates that the four pianists make four different, individual interpretations of Chopin’s composition. At the same time, however, they demonstrate that the personal dimension in an interpretation takes place within the boundaries regarding musical standpoints that the four pianists seem to have in common. Here, it is justified to talk about conventions of interpretation regarding the piano music of Chopin. However, because the recordings are collected from a period of almost 60 years, it would also be sufficient to talk about tradition of interpretation. The conclusion is that the individual interpretations of the four pianists are the results of individual approaches to the notated as well as non-notated traditions of interpretation. The paper also shows that the constraints of notation within art music still leave room for great individual variation, and that “by ear- traditions” exist within the genre, in which everyone personalizes the piece based upon what he or she has heard others do.
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Freyermuth, Jessie L. "An analysis of the musical interpretations of Nina Simone." Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/4121.
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Brynolf, Max. "Uppförande av Prokofjevs åttonde pianosonat : En musikalisk analys med fokus på spelteknik och interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4042.
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In this study, Prokofiev’s Eighth piano sonata was analyzed based on interpretation and technique. Prokofiev lived in the communist Soviet Union, during the middle of the Second World War, and wrote music with a lot of collected experience. The purpose of the study was to illustrate important interpretational- and technical aspects that are required to perform the sonata, based on personal experience. To accomplish this, the piece was practiced for several months, while continuously taking notes of my personal reflections based on the practice sessions and recordings. The study shows that the interpretation should strive to clarify different motives as well as enhancing contrasting characters in the music, while technical difficulties in demanding parts of the sonata often are solved by putting emphasize on evenness, and by considering input from several senses in the practice room. The results are useful for studying other large compositions and remain a documentation of how such extensive piano music can be approached.I studien analyserades Prokofjevs åttonde pianosonat utifrån interpretation och spelteknik. Prokofjev befann sig i kommunistiska Sovjetunionen, mitt under andra världskriget, och skrev musik med mycket samlad erfarenhet. Syftet med studien var att belysa viktiga interpretations- och teknikbaserade aspekter vid uppförandet av sonaten, baserat på egen beprövad erfarenhet. För att åstadkomma detta övades stycket in under flera månader, medan reflektioner skrevs ner baserat på övningspassen samt inspelningar. Studiens resultat påvisar att tolkning bör göra motiven så tydliga som möjligt samt lyfta fram olika karaktärer i musiken som styrker temat, medan tekniska svårigheter i krävande partier ofta löses genom att fokusera på jämnhet samt att öva med flera sinnen i fokus. Resultatet är användbart även vid instudering av andra omfattande verk och är en dokumentation på hur sådan omfattande pianomusik kan tas an.
S. Prokofjev - Sonat nr 8, op 84
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Forsthoff, Kyle Manning. "CHALLENGES OF TECHNIQUE AND INTERPRETATION IN THE PERCUSSION MUSIC OF FREDRIK ANDERSSON: A PERFORMER’S ANALYSIS." UKnowledge, 2010. http://uknowledge.uky.edu/gradschool_diss/101.
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In the mid 1990s, Swedish composer Fredrik Andersson composed not everything which happens is in the newspaper (1993), the lonelyness of Santa Claus (1994), and imagine there was nothing (1996). All three pieces share a number of compositional and stylistic elements while emphasizing the capabilities of their respective instrumentations to create mysterious sonic worlds that are unique in the percussion idiom. By examining specific concerns of each piece in detail, an understanding of Andersson’s presentation of musical challenges will result. Acceptable solutions to such challenges will be examined and compared, based primarily on the author’s analysis and experience encompassing multiple performances of each of the three works, along with supplementary information provided by various other sources. The results of this document will be significant within the larger percussion community in that they will serve to increase the visibility of the composer and increase exposure of works for percussion that are not only musically distinctive within the repertoire, but also contain a variety of exciting pedagogical, technical, and interpretive challenges that will contribute to the growth of any percussionist willing to engage them. It is hoped that such engagement will “de-mystify” Andersson’s music and inspire increased performance of his works.
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Frantz, Charles Frederick. "Fin-de-siècle visual art and Debussy's music : new paths for analysis and interpretation /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121936n.
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Zhang, John Nalan. "Analys och interpretation av Franz Liszt Pianosonat i H-moll : Sonaten vi idag kallar ett mästerverk som 1853 fick Brahms att somna." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2738.
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Franz Liszt levde under 1800-talet och var en av sin tids största pianovirtuoser och kompositörer. Vid 42 års ålder skrev han Pianosonat i H-moll som kom att revolutionera den klassiska sonatformen. Denna sonat möttes av hård kritik i början, men med tiden växte respekten för verket och idag anses det vara ett av Liszts viktigaste pianoverk. Detta arbete kommer att handla om just denna sonat. Uppsatsen innehåller en bakgrundsdel med en sammanfattad historik kring Liszts liv och stycket. Detta segment uppföljs av en analysdel där jag analyserar styckets form och skriver om mina interpretatoriska val och tips. Syftet med arbetet var att skaffa mig en stabil kunskapsgrund att utgå från när jag interpreterar verket. Jag kommer fram till att det är viktigt att man inte spelar alltför rubaterat och att man ska vara sparsam med alla redskap vi kan utrycka oss med som dynamik, accenter och tempi, eftersom risken med stycket är att man lätt tappar den röda tråden genom verket. En förhoppning är att denna uppsats ska ge andra pianister en större förståelse för Liszt och hans Pianosonat i H-moll för att få en bättre uppfattning av stycket och förhoppningsvis på så sätt nå en djupare interpretation och en mer genomarbetad konstnärlig instuderingsprocess.
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Llorens, Ana. "Creating musical structure through performance : a re-interpretation of Brahms's cello sonatas." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278796.
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From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.
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González, Lloreda Lucía. "Evolución técnica y sonora dentro del repertorio de música contemporánea para flauta travesera en España." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23163.
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Este trabalho apresenta o estudo da música contemporânea escrita para a Flauta Transversal na
Espanha. Centra-se nos eventos musicais, figuras mais representativas e focos de difusão musical de
maior importância no século XIX na Espanha. Igualmente foram selecionados os estilos musicais
mais influentes da Europa do século XX, que marcaram o ponto de partida de toda a música
contemporânea escrita na península neste período. Foi realizado um estudo das principais obras do
repertório espanhol contemporâneo escrito para Flauta Transversal. Apresentámos também uma
análise estilística e interpretativa de duas obras selecionadas, em quais podemos detectar claramente
a evolução tanto na linguagem musical quanto nas possibilidades sonoras do instrumento. Este
trabalho baseia-se na necessidade de abrir uma porta para o conhecimento sobre música em
Espanha escrita para Flauta Transversal nas últimas décadas do século XIX, bem como no início do
século XX; RESUMEN:
Este trabajo presenta un estudio de la música contemporánea escrita para Flauta Travesera en
España, para ello se me ha echo imprescindible realizar un pequeño recorrido en torno a los
acontecimientos históricos, musicales, figuras más representativas y focos de difusión musical de
mayor importancia en el siglo XIX en España. Con Posterioridad realizo un pequeño estudio de las
corrientes musicales más influyentes en Europa en el siglo XX, que marcaron el punto de inicio de
toda la música contemporánea escrita en la península en este periodo. Ya para finalizar el proyecto,
se lleva a cabo un estudio de las principales obras del repertorio cotemporáneo español escritas para
Flauta Travesera y se realizará un pequeño análisis estlístico e interpretativo donde se podrá ver la
evolución tanto en el lenguaje como en las posibilidades sonoras propias del instrumento. Todo este
trabajo se fundamenta en la necesidad de abrir una puerta al conocimiento sobre la música en
España escrita para Flauta Travesera en torno a las últimas décadas del siglo XIX así como a
principios del siglo XX; ABSTRACT:
This work presents a study of contemporary music written for Flute Travesera in Spain, for this I
have made it essential to perform a short tour around the historical events, musicals, most
representative figures and foci of musical diffusion of greater importance in the century XIX in
Spain. Later I make a small study of the most influential musical currents in Europe in the twentieth
century, which marked the starting point of all contemporary music written on the peninsula in this
period. To finish the project, a study of the main works of the Spanish cotemporane repertoire
written for Flute Travesera is carried out and a small statistical and interpretative analysis will be
carried out where the evolution can be seen both in the language and in the sound possibilities
proper to the instrument. All this work is based on the need to open a door to knowledge about
music in Spain written for Flute Travesera around the last decades of the nineteenth century as well
as at the beginning of the twentieth century.
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Larson, Matilda. "Omvärldens påverkan på konsten : En analys av Hindemiths trumpetsonat." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3476.
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Astorsdotter, Michelle. "The effect of music analysis on vocal performance : An analytical study of two Swedish songs." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79218.
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How much do musicians use their music theory knowledge when they perform? This project aims to connect theory and practice by exploring how analysis affects the interpretation of two songs in performance. Are some aspects of music analysis more useful than others when it comes to interpretation and performing? The theoretical method used in the analytical process is foremost inspired by the book The Complete Musician (Laitz 2012). In the research I recorded two songs that set the same poem Flickan kom ifrån sin älsklings möte, both before and after doing a deeper analysis of the songs. Afterward I compared the recordings to examine how the music analysis affect the performance. The interpretation is formed sometime during the process, but when? Do we decide how to interpret the music in the analytical process already, or does it happen while performing?
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Puebla, Ruben Alexander. "The avant-garde tuba| Analysis and comparisons of interpretations of William Kraft's Encounters II for unaccompanied tuba." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528027.
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Avant-garde repertoire is a common choice for young tubists looking for more advanced music with which to challenge themselves. However, atonal music, like William Kraft's Encounters II, presents potentially new difficulties to young tubists. An analysis of the piece will be presented in this project report, discussing organization of pitches, rhythmic elements of the piece, and the significant use of extended techniques. Furthermore, recordings available from different performers will be compared, including; comparisons of instruments used, with specific attention to instrument key and set-up; which of the three available editions were used to learn the piece; and how the individual performers decided to interpret the piece in comparison to the original recording by Roger Bobo. By developing a working knowledge of how the piece is organized and what potential difficulties lay ahead, young tubists can make decisions in order to maximize the success of the learning process.
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VanPelt, Michael O. "A Performers Guide to the Music of Edison Denisov: Understanding the Interpretive Implications of his Musical Language in Sonata for Alto Saxophone and Piano, Deux Pieces, and Sonata for Alto Saxophone and Cello." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384427385.
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Kutner, Renato. "Brasiliana nº2 de Cyro Pereira : analise interpretativa, preparação de edição e redução para viola e piano." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284733.
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Orientador: Emerson Luiz de BiaggiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Os objetivos principais desta pesquisa são: 1. Fazer um estudo técnico e interpretativo visando à execução da obra Brasiliana nº2. Para isso, foi elaborada uma análise interpretativa sob vários aspectos: harmônico, formal, técnico e idiomático, além de ser apresentado um breve histórico da vida e obra do compositor. 2. Realizar uma edição crítica da partitura e partes, bem como uma redução para piano da parte orquestral, com a finalidade de difundir a obra por meio de sua execução com orquestra ou piano
Abstract: The purpose of the present research is to study the technical and interpretative aspects of the piece viewing its performance. To accomplish this objective, harmonic, formal, technical and idiomatic aspects were analyzed. A critical edition of the score and parts, as well as a piano reduction was prepared, with the intent of divulging the piece and enabling its performance with orchestra or piano accompaniment
Mestrado
Mestre em Música
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Malmer, Erik S. "The Interpretation of Opera Excerpts for Bassoon: A Pedagogical Analysis of Selected Excerpts." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1573760448634845.
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Yakas, James. "Investigation, Interpretation and Internalization in Concerto Piccolino for Vibraphone by Milton Babbitt." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404603/.
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Written in 1999, Concerto Piccolino is a part of the Composer's Guild of New Jersey Vibraphone Commission, which contains a collection of twelve soli written exclusively for vibraphone. Concerto Piccolino presents vibrant opportunities for both performer and listener to experience the compositional world of Milton Babbitt. With its limited register, ability to control duration and create extreme dynamics, the vibraphone serves as an appropriate vehicle for Babbitt's multi-dimensional style. The intent of this study is to first situate this work into Babbitt's compositional output as well as referencing Babbitt's other works for solo percussion. Next, an investigation into the background structure will provide a recommended analytical framework. Included is a performance guide for how these structures should be realized via surface materials throughout the interpretive and internalization stages of the work. Examining a recommended progression from analysis through performance will demonstrate Concerto Piccolino's significance and proper place in the standard repertoire of percussion. The study concludes with discussing connections to pedagogy and how the importance of Babbitt's work, as well as other composers of serious music, is vital to the forward progress of music performance.
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Renfrew, Mary Claire. "Exploring the 'I' in musician : investigating musical identities of professional orchestral musicians." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/29570.
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The lived experiences of professional orchestral musicians are under-‐researched by scholars in both music and psychology, who are interested in the world of the professional orchestra and the careers of classical musicians. Framed within a Social Constructionist paradigm, the research in this thesis is concerned with investigating the subjective meanings and individual experiences of a group of ten classical orchestral musicians. Interpretative Phenomenological Analysis was the methodological framework chosen to design and analyse a set of open-‐ ended interviews with the musicians, which allowed reflexivity and flexibility throughout the research process. Three superordinate themes were identified from a close reading and IPA analysis of the interview data: ‘Musical Foundations’, ‘Struggle: “The Never Ending Quest”’ and ‘Thank You For The Music’. ‘Musical Foundations’ examines the process of musical identity construction for the ten participants, from its early beginnings in childhood, through adolescence and their time in the professional orchestra. Different facets of musical identity construction are outlined and becoming an orchestral musician is viewed as essentially a social process shaped by social interactions, building on a sense of possessing certain ‘innate’ characteristics. ‘Struggle: ‘The Never Ending Quest”’ illustrates the challenges the musicians encountered within the profession and the impact that being a professional orchestral musician had on other aspects of their lives (e.g. personal and social). The fear and conflict the ten musicians experienced is outlined and how the musicians coped and ‘survived’ within the professional orchestra is demonstrated. In addition, the central importance of the identity of ‘orchestral musician’ within the participants’ lives is illustrated. The last theme, ‘Thank You For The Music’ outlines why the musicians continued within the profession despite the struggles summarised by the previous theme. This chapter highlights the autonomy and control the musicians felt they gained within their orchestras and the physiological and emotional connections they experienced with both the profession and classic music itself. Common to all three superordinate themes is their reported power struggle between the musicians and the orchestra, and between the individual and the collective. Another common issue was how central the identity of ‘orchestral musician’ was for all participants, impacting all aspects of their lives. The professional musicians constructed, negotiated and maintained their musical identities in accordance with both their own expectations and those of the classical music genre itself. The research in this thesis raises awareness of the importance of the orchestral musician identity in the musicians’ lives and how an understanding of this can help gain an insight into other aspects of the participants’ lives. Recommendations are made for further research regarding: the lived experiences of classical music students, investigation of current teaching practices in conservatoires and further exploration of the professional structures within an orchestra.
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Davenport, Jennifer Tish. "Crisis and Catharsis: Linear Analysis and the Interpretation of Herbert Howells' "Requiem" and "Hymnus Paradisi"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248387/.
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Hymnus Paradisi (1938), a large-scale choral and orchestral work, is well-known as an elegiac masterpiece written by Herbert Howells in response to the sudden loss of his young son in 1935. The composition of this work, as noted by the composer himself and those close to him, successfully served as a means of working through his grief during the difficult years that followed Michael's death. In this dissertation, I provide linear analyses for Howells' Hymnus Paradisi as well as its predecessor, Howells' Requiem (1932), which was adapted and greatly expanded in the creation of Hymnus Paradisi. These analyses and accompanying explanations are intended to provide insight into the intricate contrapuntal style in which Howells writes, showing that an often complex musical surface is underpinned by traditional linear and harmonic patterns on the deeper structural levels. In addition to examining the middleground and background structural levels within each movement, I also demonstrate how Howells creates large-scale musical continuity and shapes the overall composition through the use of large-scale linear connections, shown through the meta-Ursatz (an Ursatz which extends across multiple movements creating multi-movement unity). Finally, in my interpretation of these analyses, I discuss specific motives in Hymnus Paradisi which, I hypothesize, musically represent the crisis of Michael's death. These motives are initially introduced in the "Preludio," composed out on multiple structural levels as Hymnus Paradisi unfolds, and, finally, I argue, are transformed as a representation of the process of healing, and ultimately, catharsis.
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Ferraz, Rachel Gico Casado. "Ciclos nordestinos 1, 2 e 3 para piano de Marlos Nobre: uma abordagem analítico-interpretativa." Universidade Federal da Paraíba, 2007. http://tede.biblioteca.ufpb.br:8080/handle/tede/6629.
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The object of this study is to analyze Marlos Nobre s Ciclos Nordestinos for piano through two distinct sources of theoretical referencial: the theoretical and practical knowledge of elements that compose folk/popular Brazilian music, specifically the one from the Northeastern region, and the style analysis of the method proposed by Jan LaRue. Marlos Nobre composed four Ciclos Nordestinos for piano but the fourth has not been approached for there is no revised revision up-to-date. The analysis of the Ciclos Nordestinos focused on the five parameters proposed by Jan LaRue: Sound, Harmony, Melody, Rhythm and Growth. It is also included observations about technical aspects and performance suggestions. The analyses show the existence of a great difference of level of performance between the First one and the Third Cycles; the asymmetry in the three Cycles compared between themselves in relation to the indication of speed and character; the existing quotation removed of the folk/popular origin; and the concern of the composer in placing some possibilities of study for a pupil of the piano, however, most important of them is the dissociation between left hand and right hand.
O presente trabalho constitui-se na análise dos Ciclos Nordestinos para piano de Marlos Nobre, através de duas fontes distintas de referencial teórico: o conhecimento teórico e prático de elementos que compõem a música folclórico/popular brasileira, especificamente a nordestina, e a análise estilística proposta por Jan LaRue. Marlos Nobre compôs quatro Ciclos Nordestinos para piano, porém, foram analisados apenas os três primeiros, por ainda não existir revisão e edição do 4º Ciclo Nordestino. A análise dos Ciclos enfoca cinco parâmetros, conforme o esquema analítico de LaRue: Som, Harmonia, Melodia, Ritmo e Crescimento. Também foram incluídas observações sobre aspectos técnico-pianísticos, além de sugestões interpretativas. Como principais conclusões podem-se notar a existência de uma grande diferença de nível de execução entre o Primeiro e o Terceiro Ciclos; a assimetria nos três Ciclos comparados entre si em relação à indicação de andamentos e caráter; a existência de citações literais retiradas do cancioneiro popular e uma preocupação do compositor em colocar várias possibilidades de estudo para um aluno de piano, a mais importante delas é a dissociação entre mão esquerda e mão direita.
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Girotto, Ana Claudia Brito da Silva. "Francisco Mignone : seis estudos transcedentaes : analise critica e interpretativa." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284184.
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Orientador: Mauricy MartinDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta Dissertação apresenta inicialmenteum levantamento histórico da vida de Franscisco Mignone, seguido de uma visão critica de sua vida como músico e professor baseada nos depomentos do próprio compositor, e de músicos e musicólogos de seu tempo. A análise dos Seis Estudos Transcendentaes focaliza o aspecto formal da obra, utilizando as metodologias de J. D. White e A. Schoenberg como referências teóricas
Abstract: This Dissertation presents inicially a historical research on the life of Francisco Mignone followed by a critical view of his life as a musician and professor based on testemonies by the composer himself: musicians and musicologists of his time. The analysis of the Six Transcendental Studies focus on the formal aspect of the work using the methodologies of J. D. White and A Shoenberg as theoretical references
Mestrado
Mestre em Artes
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Andrade, Liliana Michelsen de. "O primeiro movimento da Sonata II para piano solo de Bruno Kiefer : uma análise interpretativa." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10551.
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Este estudo do primeiro movimento da Sonata II para piano de Bruno Kiefer parte do ponto de vista do executante. Reunindo cartas, documentos e outras evidências do arquivo do compositor, apresenta uma análise que expõe uma concepção pessoal dos significados referenciais transmitidos pela obra. O entendimento da linguagem musical do compositor, obtido através dos processos composicionais e dos ambientes emocionais constituem-se em ferramentas de suporte para a interpretação.This study approaches the first movement of Bruno Kiefer’s Piano Sonata II from the performer standpoint. Based on letters and other archival material as well as an extensive analysis of compositional elements, the author presents referencial meanings related to emotional states resulting in an interpretive analysis.
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Chen, Pei-Sin. "Pulse (2014) by Ching-chu Hu: An Approach, Analysis, and Performance Study." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492466080527652.
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Haug, Judith I. [Verfasser]. "Ottoman and European Music in ʿAlī Ufuḳī’s Compendium, MS Turc 292: Analysis, Interpretation, Cultural Context : Monograph / Judith I. Haug." Münster : Universitäts- und Landesbibliothek Münster, 2019. http://d-nb.info/1192823036/34.
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Wilson, Nathan. "The structural use of colour in the music of Michael Whiticker : an analytical study." Thesis, The University of Sydney, 2000. https://hdl.handle.net/2123/28913.
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This dissertation is an exploration of the musical language of Australian composer Michael
Whiticker (b. 1954) with specific reference to his use of instrumental colour as a unifying
compositional force. Beginning with Robert Erickson’s book Sound Structure ofMusic as
a theoretical base this analytical study examines the role sound plays in the development of
Whiticker’s compositional language: that timbre, the unique sounds of the musical
instruments themselves are a major structural motivation, more so than pitch or duration.
The pieces selected for study are: Quidong (1983) for oboe/cor anglais, guitar and
percussion, Ad Parnassum (1991) for flute, mandolin, guitar, harp, percussion, violin,
viola and double bass, Planggé (1987) for percussion quartet, Min—amé (1988) for alto
flute, bass clarinet and piano, and Winamin (1986) for violin and piano.
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Hsu, Mei-Na. "Mozart's Piano Concerto in D Minor, K. 466: analysis and discussion of interpretation and performance /." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180454448.
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Lessa, Angélica Giovanini Micheletti. "Missa ferial de Osvaldo Lacerda - uma análise interpretativa." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-05072009-194831/.
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O objeto deste trabalho é a Missa Ferial de Osvaldo Lacerda, sobre a qual se fará uma análise musical. Composta entre os meses de fevereiro e março de 1966 trata-se de uma missa escrita para coro misto SATB - a capella para ser cantada nos dias comuns do calendário litúrgico da Igreja Católica Romana. A Missa Ferial, que data do período em que o compositor Osvaldo Lacerda atuou como membro da Comissão Nacional de Música Sacra, é a primeira de suas quatro missas que apresentam elementos da cultura brasileira agregados à música sacra católica, de acordo com as determinações do Concílio Vaticano II. O primeiro capítulo desta dissertação analisa os aspectos freqüenciais da missa: a melodia, o contraponto entre as vozes e o elemento harmônico em cada uma das partes que compõem a obra. Já o segundo capítulo trata dos aspectos referentes ao timbre e à graduação de intensidade sonora no decorrer da missa. O terceiro capítulo deste trabalho analisa o aspecto rítmico e a utilização deste na construção da obra como um todo.O quarto capítulo relata apontamentos para uma possível performance da Missa Ferial a partir da utilização de todo o desmonte analítico na construção de uma concepção interpretativa da obra. O estudo de cada um desses elementos que formam a obra foi desenvolvido a partir do referencial de análise do Marco Antonio da Silva Ramos, da utilização de bibliografia específica sobre análise musical, e do estudo sobre documentação referente à música sacra depois do Concílio Vaticano II, principalmente os documentos da Comissão Nacional de Música Sacra. Tem-se, ainda, como referência de estudo da obra, a entrevista inédita realizada com o compositor - encontra-se como apêndice deste trabalho. Para melhor compreensão das constâncias rítmicas da música brasileira, buscou-se a coleta de dados a partir de dados de pesquisa realizada por Villa-Lobos. Este trabalho, portanto, fornece subsídios para novos parâmetros interpretativos.The musical analysis of the Missa Ferial Osvaldo Lacerda is the objective of this study. This mass was written between the months of February and March of 1966 and was intended for a mixed chorus(SATB) which was to be sung, a capella, on the common days of the liturgical calendar of the Roman Catholic Church. The Missa Ferial was composed at the time when the composer was an acting member of the National Commission of Sacred Music. It is the first of his four masses that represent the union of Brazilian cultural elements with sacred Catholic music, in accordance with the resolutions of the Vatican Council II. The first chapter of this dissertation analyzes the frequent aspects of the mass in relation to: the melody, the counterpoint between voices, and the harmonic element in each of the parts that makes up the overall structure of the mass. The second chapter deals with aspects dealing with timbre as well as the graduation of sonorous intensity throughout the piece. The third chapter of this study analyzes the aspect of rhythm and the application of these rhythms within the compositions construction in its whole. By means of an analytical dissection of the Missa Ferial, the fourth chapter presents interpretative annotations for the possibility of a performance of this work. The analysis of each of these elements that are embodied within the structure of this composition, was made possible by the application of the guidelines developed by Marco Antonio da Silva Ramos through the utilization of his documented study on musical analysis, as well as the study of the documentation referring to sacred music according to the Vatican Council II, and principally the documents from the National Commission of Sacred Music. It must be mentioned as well, in reference to the study of the composition, an interview made with the composer himself(of which can be encountered in the appendix of this study). In order to better understand the rhythmic constancies of Brazilian music, a collection of data was taken and analyzed from the research of Villa-Lobos. This study may hopefully provide groundwork for new interpretive perspectives.
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Chen, Hsioa-Yun, and 陳筱蕓. "Samuel Barber "Reincarnations" Music Analysis and Interpretation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/898zqm.
Full textAbstract:
碩士國立臺灣師範大學
音樂學系在職進修碩士班
102
Samuel Barber is an important American composer in the twentieth century whose compositional output includes extensive category: solo works, chorale, ballet music, orchestral pieces and operas. Despite of being in a time of experimentalism, he still maintains his music style of the tonality and Romanticism, and many of them are inspired by literary influences. Barber grew up in a family of musicians, and himself studied composition, piano and voice in the Curtis Institute of Music. He is particularly fond of literary works; half of the output is related to literary influences, and he applied many lyrics to his vocal compositions. The four-voice a cappella Reincarnation op.16 was composed between 1937- 40, published in 1942, and two of them premiered by the Madrigal Chorus at the Curtis Institute of Music. It comprises of three distinctive pieces, and the lyrics are derived from Irish poet James Stephens' poems with the same title "Reincarnation." The first piece worships the goddess Mary Hynes, the second one mourns the death of Anthony O' Daly, and the third "The Coolin." describes the desire in dreamland. This thesis contains five parts: the first part serves as an introduction; the second part discusses the backgrounds of the composer, the poet, and the particular piece. The third part analyzes the choral work by its different movements. The fourth part offers the author's interpretation as well as the suggestions for teaching the music. The final part concluded the thesis. One appendix is a list of Barber’s published chorus works.
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Tseng, Szu-Chieh, and 曾司潔. "Orbán " Missa Nona" Music Analysis and Interpretation." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/26827957939171492139.
Full textAbstract:
碩士國立中山大學
音樂學系研究所
98
György Orbán (b.1947) is a prominent Hungarian composer; his compositions include instrumental pieces, opera, film music, vocal and choral music. Among these works, his fondness of choral music is shown through the more than a hundred choral works he has composed. Orbán’s choral works have combined traditional and modern elements and developed a unique style of his own. Choral lovers are deeply attracted to Orban’s music and it has become very popular among international competitions and concerts these days. Orbán’s Mass No.9 was commissioned by Ko Matsushita in the year 2000 for the ladies'' choir “Angelica” of the Kunitachi College of Music. Mass No.9 is a suite for a four-part female choir with piano accompaniment. This suite contains four pieces which are traditionally sung in Roman Catholic Mass. First is the Kyrie, a cry of repentance from the people to their Lord. Second is the Gloria, a praise sung to the Holy Trinity of the Father, Son and Holy Spirit. Third is the Sanctus-Benedictus, which consists of the Sanctus, praise to the glory of God, and the Benedictus, joyful shouting from the crowd as Jesus enters Jerusalem in full glory. Fourth is the Agnus Dei, a prayer to the Lamb of God for forgiveness. In the Kyrie, the texture of the music is built from thin to thick, and the pitch range moves from low to high, fully displaying the change in the people’s emotion while they call upon the Lord three times. Meter change is used throughout the piece. At the end of this piece, in the piano accompaniment, a unique dance rhythm is created by accenting certain beats. In the Gloria，dotted notes and syncopated rhythm is used to create a forward-moving and lively atmosphere. In the first and third part of this piece, the choir sings together, praising God in the heaven; in the second part, only two soloists sing for the Lord’s mercy. The textural difference creates contrasting sound within this piece. In Sanctus, the choir shows an obvious use of the pentatonic scale, and the music flows through a homophonic style while the piano part imitates the sound of a bell, all together creating solemnity and grandeur. In the latter part, a fugue theme runs through the Benedictus. With each part closely imitating the others, the fast tempo and short rhythm becomes a strong contrast to the Sanctus. In the Agnus Dei, the motif heard in the Kyrie is used once again, unifying the first and last piece of the Mass. This final piece is soothing and peaceful, the rhythm is simple and a few dissonant intervals are inserted to express the sin of the world. By combining beautiful melodies, different tonality and modes, changing meters and rhythms and by adding in many dissonant tones, Orbán created a unique style for Mass No.9, and thus this music have been highly received on the international stage. Besides the preface and conclusion, this master thesis consists of two parts. Part one includes a biographic sketch of György Orbán’s life, his musical style and the different genres of his compositions. The second part consists of analysis and musical interpretation of the Mass No.9. There are two appendices at the end of this thesis. Appendix one contains e-mails between Ko Matsushita and the writer. Appendix two contains emails between Orbán and the writer.
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Chen, Yu-hsin, and 陳郁心. "Francis Poulenc Petites Voix''s Music Analysis and Interpretation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/zd6x7x.
Full textAbstract:
碩士國立中山大學
音樂學系研究所
95
Francis Poulenc ( 1899-1963 ) is one of the most important French composers in the early 20th -century. Influenced by Neo-classicism, Poulenc developed his own personal musical language which is light, humorous, and sagacious. He wrote in many different musical genres during his life, including ballet, opera, piano, vocal, choral, and chamber music. In 1936, after his good friend Pierre-Octave Ferroud’ sudden death in a car accident and religious experience in Rocamadour, Poulenc started to compose choral music, including Petites Voix. Petites Voix, completed in 1936, includes five short pieces for three-part treble voices. Poulenc chose five lovely poems as the text from Madeleina Ley’s poetry Petites Voix, and created five short choral songs. La Petite Fille Sage ( The Good Little Girl ) describes a substantial day of a little girl. Le Chien Perdu ( The Lost Dog ) is a conversation between a kid and a dog. En Renreant de L’école ( On the Way Home from School ) describes the surprising things that happened on the way home from school. Le Petit Garçon Malade ( The Little Sick Boy ) describes a sick boy whose mind is full of feelings of helplessness. Le Hérisson ( The Hedgehog ) talks about a father who brings a Hedgehog home and some funny things happen in the family. Each song describes a little story happening in daily life from a child’s point of view, and Poulenc has put these texts to music with excellent technique to express childlike innocence. This master report consists of seven parts. The first part is an introduction. It is followed by background of early 20th-century french music, a biographic sketch of Poulenc life, characteristics of Poulenc secular choral works, a biographic sketch of Madeleina Ley life, analysis of Petites Voix, and interpretation of Petites Voix. The last part is the conclusion. There are three appendices at the end of this paper. Appendix A contains the phonetic alphabets and the general rules of French diction. Appendix B offers the translation and a French pronunciation guide for the lyrics of these five pieces. Appendix C is a list of Poulenc choral works
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Chiang, Wan-Ting, and 江婉婷. "Music analysis and interpretation of William Walton Viola Concerto." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/93201443144595695787.
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Lin, Liang-Yu, and 林亮宇. "The Music Analysis and Interpretation of George Gershwin’s Songbook." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/99113874302516011438.
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Chung, Chao-Yuan, and 鍾兆元. "Music Analysis and Interpretation of F. Mendelssohn’s Variations Sérieuses." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/5m4x4h.
Full textAbstract:
碩士國立臺中教育大學
音樂學系碩士班
106
Mendelssohn (1809-1847) was born in a wealthy banking family in Hamburg, Germany. He is often viewed as a Classical-Romantic composer whose style incorporated elements of formal balance and control on one hand and Romantic subjective and fantasy on the other. Variations Sérieuses op. 54 is Mendelssohn's solo piano work and one of his most prominent music compositions written in his later years. This piece consists of a main theme, 17 variations, and a brilliant presto ending. It is constructed with strict music form and contrapuntal style alignment with characteristics of classical variations. This thesis will first explore Mendelssohn’s life, music style, and characteristics of his works. Then, it will analyze Variations Sérieuses, examine the tempo, dynamics, and note value as well as classifying the type of variation of this composition. There are five chapters in this study. The first chapter is the introduction, which studies the origin, motive, content, and structure. The second chapter discusses the composer’s life and his piano compositional style. The third chapter provides evolution, category and creation of the variation. The fourth chapter investigates music formal analysis and interpretation. The fifth chapter is the conclusion. The author hopes that through this study the music performer will be able to develop a strong understanding of the music and in turn, enhance the nuance and characteristics of individual performance.
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Hsu, Chia-hsin, and 徐嘉欣. "John Rutter Three Birthday Madrigals''s Music Analysis and Interpretation." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/73y3t7.
Full textAbstract:
碩士國立中山大學
音樂學系研究所
96
John Rutter, a world-famous British choral conductor and composer, was educated well in his childhood and the choral experience during that time has helped him to become an outstanding musician. After he was well-known, he not only established the Cambridge Singers and Collegium label, but also spared no pains to spread choral music such as being a guest-conductor or lecturer around the world. Three Birthday Madrigals was completed in 1997. It’s for two to four part female chorus and is a rearrangement from Birthday Madrigals, a choral suite including five pieces of music for mixed choir that was commissioned by Brian Kay to celebrate the seventy-fifth birthday of the great jazz pianist, George Shearing, in 1995. The texts of Three Birthday Madrigals all came from the eminent poet of Elizabethan Era of the late Renaissance Period; The first piece It was a lover and his lass came from William Shakespeare’s As You Like It, the second piece My true love hath my heart is a sonnet, coming from Sir Philip Sidney’s Arcadia, and the third piece When daisies pied combined William Shakespeare’s Love''s Labour''s Lost with George Peele’s The Old Wives’ Tale. Rutter used two distinguished styles in Three Birthday Madrigals. He applied the jazz style to describe the delightful feeling of the first piece and the relaxing and pleasing feeling of the third piece. He utilized the English Partsong tradition when expressing the touching and profound love of the second piece. The most noticeable feature of the first piece is the dotted rhythm. Rutter indicated that the dotted eighth and sixteenth notes should be performed with a two-to-one ratio to interpret the swing style. The piano accompaniment sentence is extremely important, and improvisation-like manner will determine the jazz flavor firmly. The second piece preserves the unique aesthetic quality of pure human voices by having the singing a cappella. The first soprano part carries the melody most of time with the other voices supplying the harmonies. The third piece is a jazz waltz. It is similar with the first piece; the piano accompaniment plays an important role in creating atmosphere jazz and in enriching the musical color. Rutter applied smooth line against syncopation and clothed each section with legato and staccato simultaneously to make contrast. Therefore, when interpreting this piece, the choir should express the contrast clearly to make the music lively and attractive. This master report consists of seven parts: the preface, a biographic sketch of John Rutter, Rutter’s compositional genres, Rutter’s choral music, a biographic sketch of three poets, analysis and interpretation of Three Birthday Madrigals, and the conclusion. There are two appendices at the end of this paper. Appendix A supplies two e-mail letters from Rutter. Appendix B is a list of Rutter’s published secular choral music.
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Solomon, Jason Wyatt. "Spatialization in music the analysis and interpretation of spatial gestures /." 2007. http://purl.galileo.usg.edu/uga%5Fetd/solomon%5Fjason%5Fw%5F200705%5Fphd.
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