Dissertations / Theses on the topic 'Recorder and piano music Analysis, appreciation'
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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
Full textWong, Hock-wei Wendy, and 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.
Full textTelesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.
Full textNakagawa, Eri. "A stylistic analysis of the piano trios of Saint-Sa�ens and Ravel." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1063301.
Full textSchool of Music
Dicus, Kent Timothy 1958. "A stylistic analysis of selected piano works of Louis Moreau Gottschalk." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276718.
Full textShin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
Full textChapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.
Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
Maluf, Shireen. "Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.
Full textThe aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.
Lee, Margaret Jackson. "A critical analysis of selected piano works by Hubert du Plessis." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002310.
Full textKiatvongcharoen, Usa. "Analytical approaches to three of Debussy's preludes for piano." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20665635.
Full textAhn, Joel 1957. "A Stylistic Evaluation of Charles Valentin Alkan's Piano Music: a Lecture Recital, together with Three Recitals of Selected Works of J.S. Bach, Beethoven, Brahms, Liszt, Schumann, and Villa-Lobos." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332384/.
Full textNadai, 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.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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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
Pereira, Gesiel Vilarubia 1986. "Estruturações melódico-harmônicas nos 50 Ponteios de Camargo Guarnieri /." São Paulo, 2017. http://hdl.handle.net/11449/151366.
Full textBanca: Lutero Rodrigues da Silva
Banca: César Henrique Rocha Franco
Resumo: Tendo como objeto de estudo os 50 Ponteios para piano de Camargo Guarnieri, este trabalho se concentra na análise de suas estruturações melódicas e harmônicas, almejando compreender aspectos estruturais da poética do compositor neste ciclo de peças. Apresenta-se, inicialmente, um diálogo entre as transformações sofridas pela escritura melódico-harmônica de Guarnieri durante o período de composição desta coleção e uma contextualização histórico-estilística, na qual são focalizadas, principalmente, suas buscas por um nacionalismo influenciado por Mário de Andrade e suas experiências com diferentes idiomas harmônicos. Propõe-se, ainda como texto preparatório para as análises, uma classificação textural dos 50 Ponteios e, ainda, a verificação de algumas constâncias formais dentro desta coleção.Nos capítulos seguintes, esta dissertação se direciona para a verificação das escolhas dos materiais presentes na construção das melodias e harmonias e se estende sobre observação dos procedimentos composicionais característicos de Guarnieri - sua poética. A partir desta investigação analítica, constatamos, nos Ponteios e em outras obras do compositor, a recorrência de um motivo melódico o qual denominamos Motivo Guarnieri. Na dimensão harmônica, chamou-nos a atenção a reincidência de uma determinada estrutura harmônica simétrica, utilizada com função Dominante nos momentos cadenciais, além do cuidado, por parte do compositor, em usar estruturas simétricas nos contextos escalares, harmôni... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The aim of this work is to study the 50 Piano Ponteios of Camargo Guarnieri, focusing on the analysis of their melodic and harmonic structures, seeking to understand the structural aspects of the composer's poetics in this cycle of pieces. We initially examine the transformations incurred by Guarnieri's melodic-harmonic writing in the period that this collection was composed, and a produce a historical-stylistic contextualization. This contextualization focuses on the Brazilan nationalism which was influenced by Brazilian philosopher and critic Mário de Andrade, and Guarnieri's experiences with different harmonic languages. In preparation for the analysis, a textural classification of the 50 Ponteios is performed, as well as a verification of some formal consistencies within this collection. The dissertation is also directed to the examination of the choices of the materials present in the construction of the melodies and harmonies, and extends to the observation of the compositional procedures characteristic of Guarnieri - in other words, his poetics. From this analytical investigation we can observe, in the Ponteios and in other works by this composer, the recurrence of a melodic motif which we call The Guarnieri Motive. In terms of harmony, we are struck by the recurrence of a specific symmetrical harmonic structure, used as dominant function in cadential moments. We may also verify the care the composer took to use symmetrical structures in scalar, harmonic and formal con... (Complete abstract click electronic access below)
Mestre
Ferenc, Anna. "The post-tonal compositional method of Nikolay Andreyevich Roslavets : an analysis of his five preludes for piano." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61975.
Full textLee, Chung H. (Chung Haing). "Japanese Elements in the Piano Works of Toru Takemitsu." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332793/.
Full textLi, Hanhan. "Stephen Chatman's Piano Fantasies (1993): An Instructional and Performance Guide for Teachers and Intermediate Piano Students." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505243/.
Full textBacovis, 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.
Full textBanca: 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
Du, Plessis Jacques. "Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017818.
Full textPinto, Ribeiro Bruno Alfredo. "Exploring authenticity in performance : a comparative performance analysis of Arnold van Wyk’s Night Music for piano." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1924.
Full textArnold van Wyk was a composer and a pianist. He recorded his largest work for piano, Night Music (1958), on LP in 1963. Steven de Groote performed Night Music on 21 July 1984 at the Cheltenham International Festival of Music. This live performance was broadcast on BBC Radio 3 on 24 September 1984 and a copy of this broadcast exists in the Arnold van Wyk collection in the J.S. Gericke Library at Stellenbosch University. Night Music is a perfect example of Van Wyk’s compositional techniques for the keyboard. It demands a considerable musical imagination and piano technique from the performer. The score of Night Music contains many detailed instructions regarding the different musical parameters and it also encloses unusual terms such as glacial or lugubre. It shows that the composer is extremely concerned to control all aspects of the performance and expects great depth of interpretation of the performer. Analysing the score of Night Music together with a performance by the composer enables one to consider two versions of “authenticated text”. The comparison between Arnold van Wyk’s recording, score and Steven de Groote’s performance allows the researcher to draw conclusions about score fidelity as a condition for “authenticity” in performance. Therefore, the primary aim of this research project is to yield interesting perspectives on notions of authenticity in performance with regard to these two particular performances of Night Music. The main body of this thesis consists of four chapters. In Chapter One a philosophical discussion about authenticity in performance is presented. Chapter Two focuses on the contextualisation of the work under discussion, including the reception and a short analysis of Night Music. It is followed by Chapter Three which compares the pianism of Arnold van Wyk and Steven de Groote. These latter two chapters form the background of the comparative performance analysis of the renditions of Night Music by these two performers which are presented in Chapter Four. Through the careful comparative analysis of Arnold van Wyk’s and Steven de Groote’s performances of Night Music it was possible to observe that a composer can present a version of his work that departs quite radically from the score. As “authenticity in performance” strives to honour the composer’s intentions as notated in the score, this discrepancy illustrates the controversial nature of the discourse on the “authentic” in music.
Cesetti, Durval. "The Many Masks of Karol Szymanowski: A Commentary on his Piano Triptychs." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111715.
Full textKarol Szymanowski's music has fascinated me for a long time. The first time I encountered his name was in Artur Rubinstein's autobiography, which recounts how they first met and narrates many anecdotes about their friendship. At the time, I was living in Brazil, and was unable to find any recordings of his music. Nonetheless, Rubinstein's ardent praise of him (“a master!”, “a great Polish composer!”, “a powerful, original personality”) made me very curious, and I did not abandon my desire to keep looking for his music. Then, when I moved to Montreal in order to start my undergraduate degree at McGill University, I was finally able to find many recordings of his works at the school's library.[...]
Hollingsworth, Mark Stanton. "Romanzas for Clarinet and Piano by Ernesto Cavallini: A Lecture Recital Together with Three Other Recitals." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330885/.
Full textLington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.
Full textAccompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
Cao, Chenyi. "A Pedagogical Analysis of Articulation, Balancing, Voicing, and Interpretation in Giuseppe Concone's Vingt Études Chantantes, Op. 30, for Upper Intermediate Piano Students." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062884/.
Full textGiareta, Eder Pessoa 1981. "As peculiaridades na escrita pianística de Ronaldo Miranda : sugestões interpretativas e técnico-musicais /." São Paulo, 2013. http://hdl.handle.net/11449/95099.
Full textBanca: Achille Guido Picchi
Banca: Ronaldo Coutinho de Miranda
Resumo: Pretende-se, neste trabalho, estudar a relação entre as obras para piano solo de Ronaldo Miranda, identificar os procedimentos composicionais utilizados pelo compositor e, a partir daí, extrair ferramentas que facilitem uma adequada interpretação musical das mesmas. O objeto deste projeto firma-se na interpretação musical, através das características notacionais da partitura à luz de um olhar analítico e do levantamento das peculiaridades da escrita pianística. Propõe-se que o intérprete tenha um conhecimento prévio dos elementos que são largamente utilizados pelo compositor e considere os exercícios técnicos sugeridos no último capítulo, compostos pelo autor deste trabalho, com base na identificação e recorrência dos padrões pianísticos composicionais de Ronaldo Miranda. Sendo assim, o pianista terá ao seu dispor recursos que fundamentarão uma postura interpretativa mais coesa, considerando o processo cognitivo, a percepção e a atenção dada no preparo para a execução da obra
Abstract: It is intended to study the relationship between the works for solo piano by Ronaldo Miranda, identifying the compositional procedures used by the composer and, thereafter extracting tools to facilitate a proper musical interpretation thereof. The object of this project is based on the musical interpretation, through the notational characteristics under an analytical view and setting up the peculiarities of the pianistic writing. It is proposed that the interpreter has prior knowledge of the elements that are widely used by the composer and consider the technical exercises suggested in the last chapter, composed by the author of this research, based on the identification and recurrence of pianistic patterns of Ronaldo Miranda. Thus, the pianist will have at his disposal, resources that will build a more cohesive rendition, considering the cognitive process, perception and attention given in preparation for performing the work
Mestre
Ai, Meilin. "An Introduction to Contemporary Characteristics in Twentieth-Century Piano Music for the Late-Intermediate Student: A Pedagogical Analysis of the Bagatelles, Opus 5 by Alexander Tcherepnin." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505185/.
Full textHung, Sophie (Shuo-Hui). "An Instructional Guide to Teaching Dan Beaty's Woodsprite and Waterbug Collection for Intermediate Piano Students and Instructors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404626/.
Full textYang, Shu-mei. "Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331819/.
Full textRong, Xing. "A Comparative Study of Polyphonic Techniques in Chang-Lei Zhu's Ballade for Solo Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538807/.
Full textCho, Eun. "Geonyong Lee's Violin Works, Rhapsody for Violin and Piano and Heoten Garak: A Study of Compositional Style and Stylistic Influences." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157559/.
Full textLeichty, David Herman. "The six keyboard concertos and four symphonies by Thomas Augustine Arne (1710-78)." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063299.
Full textSchool of Music
Lim, Chong-Pil. "Ferruccio Busoni's Musical Thinking: A Study of His Sonatina Seconda and Toccata." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332670/.
Full textGiareta, Eder Pessoa [UNESP]. "As peculiaridades na escrita pianística de Ronaldo Miranda: sugestões interpretativas e técnico-musicais." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/95099.
Full textPretende-se, neste trabalho, estudar a relação entre as obras para piano solo de Ronaldo Miranda, identificar os procedimentos composicionais utilizados pelo compositor e, a partir daí, extrair ferramentas que facilitem uma adequada interpretação musical das mesmas. O objeto deste projeto firma-se na interpretação musical, através das características notacionais da partitura à luz de um olhar analítico e do levantamento das peculiaridades da escrita pianística. Propõe-se que o intérprete tenha um conhecimento prévio dos elementos que são largamente utilizados pelo compositor e considere os exercícios técnicos sugeridos no último capítulo, compostos pelo autor deste trabalho, com base na identificação e recorrência dos padrões pianísticos composicionais de Ronaldo Miranda. Sendo assim, o pianista terá ao seu dispor recursos que fundamentarão uma postura interpretativa mais coesa, considerando o processo cognitivo, a percepção e a atenção dada no preparo para a execução da obra
It is intended to study the relationship between the works for solo piano by Ronaldo Miranda, identifying the compositional procedures used by the composer and, thereafter extracting tools to facilitate a proper musical interpretation thereof. The object of this project is based on the musical interpretation, through the notational characteristics under an analytical view and setting up the peculiarities of the pianistic writing. It is proposed that the interpreter has prior knowledge of the elements that are widely used by the composer and consider the technical exercises suggested in the last chapter, composed by the author of this research, based on the identification and recurrence of pianistic patterns of Ronaldo Miranda. Thus, the pianist will have at his disposal, resources that will build a more cohesive rendition, considering the cognitive process, perception and attention given in preparation for performing the work
Kim, Seongkyul. ""Mich dürstet" (I Thirst) by Younghi Pagh-Paan and the Jeju 4.3 Incident: Images and Piano Textures." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538662/.
Full textLuo, Yeou-Huey. "The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332339/.
Full textJang, Miyoun. "A Comparative Study of Piano Etudes by György Sandor Ligeti and Unsuk Chin: A Technical and Stylistic Guide to Mastering the Difficulties of Their Etudes." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404627/.
Full textHuang, Szu Ying. "Uncovering Fanny Hensel's "Das Jahr": Creating an Urtext Edition that Addresses Selected Technical and Interpretive Issues through Added Fingerings and Pedal Markings." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609086/.
Full textLiu, Tzu-Yi. "An Analytical Perspective of the Developing Aesthetic Concepts in Sergey Prokofiev's Choses en soi, Op. 45." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062899/.
Full textGoodchild, Meghan. "Formal structures in the solo keyboard music of J.C. Bach and their influence on Mozart." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112339.
Full textI adopt William Caplin's theory of formal functions to analyze Bach's solo keyboard sonatas: the Solo in A minor from Berlin (1750--55), three sonatas from the Milan collection (1755), six sonatas from London Op. 5 (1767), and six sonatas from London Op. 17 (1773--4). I demonstrate that Bach gradually refines phrase and thematic functions of the exposition of first-movement sonatas. I examine Bach's use of core technique and subordinate theme-like units in development sections and discuss the reasoning behind different recapitulation strategies. I also compare the sonata forms of the first movement to the second and third movements, and discuss other types of large-scale formal design (theme and variations, minuet and trio, and rondo).
Many sources indicate that Mozart was greatly influenced by Bach, but they remain vague in describing the type and extent of this influence. Building on previous melodic, motivic and stylistic studies, I draw important phrase-structural connections between the music of Bach and Mozart. I discuss the construction of Mozart's early piano pieces (KV 6 through K 284) and demonstrate that he adopts particular phrase-structural and thematic designs similar to pieces from Bach's Op. 5 and 17 collections. Through form functional analysis, I illustrate Bach's development of phrase and thematic structures and provide important phrase-structural evidence of his influence on the music of Mozart.
Moreira, Adriana Lopes da Cunha. "Olivier Messiaen : inter-relação entre conjuntos, textura, ritimica e movimento em peças para piano." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284716.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho propõe uma associação de técnicas de análise musical desenvolvidas durante os séculos XX e XXI aos conceitos teóricos proferidos por Olivier Messiaen no livro Technique de mon langage musical (Messiaen 1944a e 1944b) e nos três primeiros volumes do Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b e 1994c). Para tanto, nos dois Capítulos que o compõem, inter-relaciona tais conceitos teóricos a técnicas de análise apresentadas por autores como Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) e Felix Salzer (1982); e demonstra a eficiência do procedimento, através da apresentação de cinco análises de peças para piano compostas por Olivier Messiaen, contextualizadas tanto por dados biográficos do compositor, como por artigos anteriormente escritos por pesquisadores teoricamente relevantes. O trabalho justifica-se por contribuir para a bibliografia sobre análise musical em língua portuguesa, bem como por constituir um trabalho de análise musical que amplia a vertente teórica do compositor. Nos cinco Anexos que completam o exemplar, destaca declarações inéditas na literatura mundial, proferidas pelo compositor Almeida Prado, a respeito de planos não concretizados para a composição de um segundo Catalogue d'oiseaux. Na Conclusão, foram traçadas vertentes, tanto em relação às técnicas de análise utilizadas, como à obra para piano de Olivier Messiaen como um todo.
Abstract: This work proposes an association between musical analysis techniques developed during the twentieth and the twenty-first centuries and the musical theory concepts presented by Olivier Messiaen in his Technique de mon langage musical (Messiaen 1944a and 1944b) and Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b and 1994c), first, second and third volumes. For this purpose, it relates Messiaen's theory concepts to analysis techniques presented by authors like Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) and Felix Salzer (1982). Trough the analysis of five piano pieces by Olivier Messiaen the efficiency of this process is demonstrated. The analyses are supported by the composer's biography, as well as by articles previously written by prestigious researchers. It adds to the musical analysis bibliography in Portuguese language and it contributes to broaden the theory concepts presented by the composer. The five Annexes that complement this work bring new revelations by Brazilian composer Almeida Prado, about an Olivier Messiaen's project, never made concrete, to compose a second Catalogue d'oiseaux. In the Conclusion we trace lines of conduct concerning the musical analysis techniques as well as Olivier Messiaen's piano work as a whole.
Doutorado
Doutor em Música
Zhan, Le. "William Gillock's Contributions to Piano Pedagogy: A Comparison of Three Works of Gillock with Selected Stylistic Models from the Baroque, Classical, and Romantic Repertoire." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609147/.
Full textHammond, Rachel. "Rhythmic and metric structure in Alberto Ginastera's piano sonatas." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4912.
Full textID: 030422756; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 70-71).
M.A.
Masters
Music
Arts and Humanities
Kim, Yereum. "A Performance-and-Analysis Approach to a Cadential Ambiguity: Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, First Movement." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609089/.
Full textPoon, Letty, and 潘穎芝. "Piano culture in Hong Kong: from City Hall toHarbour City." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B38711163.
Full textPinto, Antonio Carlos Neves. "Uma analise musical do Batuque da suite orquestral Reisado do Pastoreio de Oscar Lorenzo Fernandez." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284015.
Full textAnexos: 2 CD-ROM
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este projeto tem por principal objetivo apresentar uma possibilidade de execução para a música sinfônica de influências afro-brasileiras, muito pouco explorada pelos nossos intérpretes. Para tanto foi escolhida, especificamente o "Batuque" da Suíte "Reisado do Pastoreio" do compositor Oscar Lorenzo Fernândez, uma das obras brasileiras de maior riqueza musical e reconhecimento no cenário internacional. Esta pesquisa tem como justificativa a contribuição para o enriquecimento da bibliografia técnica brasileira em práticas interpretativas e também da discografia, através de dois Cds que acompanham esta dissertação, uma vez que faltam materiais de suporte disponíveis para o estudo deste gênero musical. A metodologia constou de: leitura de bibliografia especifica para um estudo das origens do termo batuque, as características das práticas musicais e de danças dos negros afro-brasileiros desde o período colonial, suas transformações até as primeiras décadas do século XX, em seguida um paralelo com a trajetória do compositor e sua produção musical, uma análise formal, uma análise interpretativa e comparativa com mais duas execuções distintas desta peça. Entre os resultados obtidos, contam-se a aplicação de conhecimentos teóricos na prática interpretativa; a contribuição para maior entendimento deste repertorio especifico assim como abertura para uma nova perspectiva à pesquisa musical; além de fornecer material útil para o ensino de música de câmara e de prática orquestral
Abstract: This research had the main object to present a possibility of performing the Brazilian symphonic music formed by afro-Brazilian influences, very little explorered by our performers. For that, was chosen particularly the "Batuque" from Suite "Reisado do Pastoreio" composed by Oscar Lorenzo Fernandez, one of the Brazilian woks full of musical richness and recognition at the international environment. This research had as justification, the contribution for the enrichment of the Brazilian technical bibliography in performing practices and discography through two CDs which join the dissertation, once that there is a lack of support material for the study of this kind of music. The methodology, at first, has consisted of the reading of particularly bibliography about the genesis of the term batuque and the characteristics of the musical practices and the dances of the afro-Brazilian Negroes since the colonial period until their changes during the first decades of the twentieth century. After that a parallel was described between the composer's path and his musical production. At last one formal analysis was made of Lorenzo Fernandez's batuque and one performing and comparative analysis was made between our performance and two different others of this piece. The results of this research showed that the theoretical knowledges were applicable at the performance practice and the contribution for the greatest comprehension of music with afro-Brazilian influences; opening a new perspective for musical research besides making available useful material for teaching chamber music and orchestral music
Mestrado
Mestre em Artes
Gamso, Nancy M. (Nancy Margaret). "Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz, Roussel, Albinoni, Weber, Milhaud, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279129/.
Full text"Source separation and analysis of piano music signals." Thesis, 2010. http://library.cuhk.edu.hk/record=b6075249.
Full textWhat makes a good piano performance? An expressive piano performance owes its emotive power to the performer's skills in shaping the music with nuances. For the purpose of performance analysis, nuance can be defined as any subtle manipulation of sound parameters including attack, timing, pitch, loudness and timbre. A major obstacle to a systematic computational analysis of musical nuances is that it is often difficult to uncover relevant sound parameters from the complex audio signal of a piano music performance. A piano piece invariably involves simultaneous striking of multiple keys, and it is not obvious how one may extract the parameters of individual keys from the combined mixed signal. This problem of parameter extraction can be formulated as a source separation problem. Our research goal is to extract individual tones (frequencies, amplitudes and phases) from a mixture of piano tones.
Szeto, Wai Man.
Adviser: Wong Kim Hong.
Source: Dissertation Abstracts International, Volume: 73-03, Section: B, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 120-128).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
"Conversation, Dark haze, San-shui Xi-nan." 1998. http://library.cuhk.edu.hk/record=b5896306.
Full textThesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Chapter Part I: --- p.page
Chapter ´Ø --- Abstract --- p.1
Chapter Part II:
Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3
Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6
Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25
Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28
Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65
Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69
Chapter Part III:
Chapter ´Ø --- Biography --- p.119
"梅西安鋼琴獨奏作品研究." 2004. http://library.cuhk.edu.hk/record=b6073896.
Full text論文(哲學博士)--香港中文大學, 2004.
參考文獻 (p. 240-259).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts also in English.
Zheng Zhong.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (p. 240-259).
Van, Wyk Wessel. "Jeanne Zaidel-Rudolph : three piano works - analysed and edited." Thesis, 2001. http://hdl.handle.net/2263/26410.
Full textThesis (D Mus (Performing Art))--University of Pretoria, 2006.
Music
unrestricted
Du, Plessis Charl Petrus. "Die solo-klavierwerke van Charles Camilleri (1931-) (Afrikaans)." Diss., 2003. http://hdl.handle.net/2263/28305.
Full textParks, David. "A proposed strategy for training indigenous youth ministers in Baptist churches in Singapore." 2004. http://hdl.handle.net/10392/306.
Full textThis item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from http://disexpress.umi.com/dxweb or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.