Dissertations / Theses on the topic 'Tchaikovsky'
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Dyachkova, Yelena. "Piotr Tchaikovsky and the Bible." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 77-84, 1999. https://ul.qucosa.de/id/qucosa%3A15625.
Full textDyachkova, Yelena. "Piotr Tchaikovsky and the Bible." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-224596.
Full textKoch, Marelize. "‘n Pedagogiese analise van Tchaikovsky se Jeugalbum Op. 39." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65564.
Full textDissertation (MMus)--University of Pretoria, 2017.
Music
MMus
Unrestricted
Leaman, Kara Yoo. "Analyzing Music and Dance| Balanchine's Choreography to Tchaikovsky and the Choreomusical Score." Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10584953.
Full textGeorge Balanchine was one of the most prolific and influential choreographers of the twentieth century. He was also a skilled musician, trained at the St. Petersburg Conservatory. His ballets have been celebrated for their musicality by prominent dancers and musicians alike. However, the concept of choreographic musicality, and the means by which it is achieved in his ballets, has remained largely elusive. This dissertation analyzes two works that Balanchine set to music by Pyotr I. Tchaikovsky: Tschaikovsky Pas de Deux (1960), set to an interpolation in Swan Lake (1877), and Theme and Variations (1947), set to the fourth movement of the Third Orchestral Suite (1884). The analyses combine perspectives from traditional music analysis, dance transcription, and digital video annotation. The methodology takes advantage of Balanchine's strong musical literacy to examine, first, the musical scores, as he did, and then his choreographies in relation to the scores. The analyses connect elements of his choreography directly to their probable sources in the music, and they show that Balanchine was guided by discernible priorities in setting dance to music: that dance and music reflect a partnership rather than dominance by one party; that dancers move with unreserved energy, reflected in steps that cross musical boundaries or anticipate musical ideas; and that dance establish a strong relationship with its music before it is free to conflict with it. Balanchine's choreomusical style encompasses many different types of relationships between music and dance, and he achieved what may be described as musical artistry by a variety of choreographic techniques. The analyses in this study offer a detailed view of important aspects of Balanchine's multifaceted choreomusical style.
To examine Balanchine's choreography, this dissertation presents a method for transcribing dance in a music-based notation system that prioritizes the representation of pitch with rhythm. It introduces a new "choreomusical notation" that maps "choreographic pitch" (or, spatial height) onto the vertical axis and "choreographic rhythm" onto the horizontal axis of a musical staff. Using this notation, visual representations of dance and music are aligned in a "choreomusical score," and analytic paradigms developed in music theory are applied to works of dance with music. Unlike most other systems of dance notation, this choreomusical notation is not intended to capture choreography in a comprehensive way; rather, it is designed to distill some of the most musically salient elements of a dance into notation for the purpose of intermedia analysis. Compared with other choreomusical analyses that use dance notations, this dissertation brings Balanchine's ballets and their musical scores into closer visual and cognitive proximity. This choreomusical notation can also be adapted to reflect musically salient aspects of other dance styles. Sample analyses showing extended applications, with excerpts from minuet, Bulgarian folk dancing, cartoon, and rave dancing, are included in the final chapter.
Lin, Louise Jiayin. "Sergei Tanayev (1856-1915) an analysis of his Piano concerto in E-flat major and its relationship toTchaikovsky's Piano concerto no. 1 /." Lecture recital, recorded Dec. 1, 2006, in digital collections. Access restricted to the University of North Texas campus connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3648.
Full textSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2000, June 24, 2002, Jan. 24, 2005, and Dec. 1, 2006. Includes bibliographical references (p. 37-38).
Boeskool, Breighan M. "Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134139003178.
Full textDyachkova, Yelena. "Tchaikovsky’s Liturgy as a directive for the world-outlook of the Russian intelligentsia." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219054.
Full textSpriggs, Olga A. "A Choral Conductor’s Guide to Pyotr Ilyich Tchaikovsky’s “Moscow” Coronation Cantata." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439307279.
Full textHao, Chenyang. "A Pedagogical Guide for Tchaikovsky's Ablum for the Young, Op. 39." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1823.
Full textAlexander, David Robert 1955. "Tchaikovsky's "Third Symphony": An analysis of its form, harmony, and style." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/291559.
Full textPettersen, Watten Elise. "Hva kan bakgrunnskunnskap om komponisten gjøre med en musikalsk tolkning? : En studie av Tsjajkovskij og to av hans verker." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-79151.
Full textThis bachelor thesis aims at giving me a deepened awareness in the interpretation of the music of P. I Tchaikovsky (1840-1893), with his cultural background and the music his- torical epoch in which he lived. I have focused on two of his works: “Nur wer die Sehnsucht kennt op. 6” and ”Souvenir de Florence, op 70”. My main goal was to see if div- ing more deeply into Tchaikovsky`s life and history would have an impact on my musical interpretation. As a result of this study, I made several changes in my interpretation. I also see both the composer and his musical works in a different light. As a bonus, I found some methods to use when transferring this kind of background knowledge into “sound- ing music”.
Santos, Sidney Ricardo Gomes dos. "As escolhas interpretativas do maestro na contemporaneidade face a tradição musical: um estudo de caso com a 5ª. Sinfonia de Tchaikovsky." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/7097.
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This article discusses the relation between the orchestral conductor’s performanceand the musical interpretativetraditionshaving as case study the 5th Symphony by PyotrIlych Tchaikovsky. It is fundamented on thinkers as Castagna (2008) on the score editions, Silva & Silva (2009) on tradition in musical performance and Laboisiése (2007) on musical interpretation. As the methodology, it were investigated twelve editions of the score object of this study, twelve representative recordings thereof, among which, renowned conductors such as Claudio Abbado, Bernstein and Karajan, as well as prepared and presented by the author with the Youth Symphony Orchestra of the State of Goiás. The conclusions point that the tradition of musical performance can have a major influence on the conductor in contemporary times and therefore requires a reflection on the break or not paradigms established by the tradition of the art of orchestral conducting in canonical works.
O presente artigo discutea relação entre a performance do maestro na contemporaneidade e as tradições interpretativas musicais tendo como estudo de caso a 5ª. Sinfonia de Tchaikovsky, obra canônica do repertório orquestral. Toma-se como fundamentos teóricos os pensadoresCastagna (2008) sobre as edições de partitura, Silva & Silva (2009) sobre tradição na performance musical e Laboissiére (2007) sobre interpretação musical. Foram investigadasdoze ediçõesda partitura da obra objeto deste estudo, doze gravações representativas da mesma, dentre as quais, de renomados maestros como Claudio Abbado, Bernstein e Karajan, além de preparada e apresentada por esse autor junto à Orquestra Sinfônica Jovem do Estado de Goiás. Constatou-se quea tradição da performance musical pode ter uma grande influência sobre o maestro na contemporaneidade e, portanto, exige-se uma reflexão sobre a quebra ou não de paradigmas estabelecidos pela tradição da arte da regência nas obras canônicas orquestrais.
Grönke, Kadja. "Die Tschaikowsky-Gesellschaft e. V. Tübingen." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219143.
Full textYang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16097/1/Vicky_Yang_Thesis.pdf.
Full textYang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16097/.
Full textDoran, Molly Catherine. "The Transformation of Pushkin's Eugene Onegin into Tchaikovsky's Opera." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1338408083.
Full textBROWN, BREIGHAN MOIRA. "“Transforming Chaos”: Modes of Ambiguity in Tchaikovsky’s Symphony No. 5 in E Minor." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187004301.
Full textLiu, Louise Jiayin. "Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovskys Piano Concerto No.1." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3648/.
Full textTorpp, Larsson Magnus Theodor. "Prøveteknik : Om dirigents prøveteknik med et orkester og om overgangsfasen fra forberedelse til udøvelse." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3090.
Full textStrauss, Richard, Don Juan, Op. 20
Sørensen, Bent, Evening Land, 2017
Tchaikovsky, Peter Ilyitch, Symphony No. 4, F minor, Op 36
Dirigent: Magnus Theodor Torpp Larsson
Orkester: Norrköpings Symfoniorkester
Grönke, Kadja. "Die Tschaikowsky-Gesellschaft e. V. Tübingen." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 237-241, 1997. https://ul.qucosa.de/id/qucosa%3A15330.
Full textParys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.
Full textCummings, Ronn (Ronn Thomas). "Analysis of the Re-Orchestrations of Robert Schumann's Four Symphonies Employed by Felix Weingartner: With Four Recitals of Selected Works by Schumann, Beethoven, Tchaikovsky, Poulenc, Bizet, Rossini, and Chabrier." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935814/.
Full textGreen, James Matthew. "The History and Usage of the Tuba in Russia." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449095115.
Full textThomson, John A. (John Alistair). "The gypsy in violin music: a lecture recital featuring the music of Kreisler, Ravel, and Sarasate : together with three recitals of music by Bartók, Beethoven, Chausson, Dvořák, Schoenberg, Schubert, Shostakovich, and Tchaikovsky." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332656/.
Full textLischke, André. "Tchaikovski au miroir de ses écrits." Paris 4, 1996. http://www.theses.fr/1996PA040157.
Full textZelvyte, Giusiano Indre Eugenija. "Les tendances pianistiques des années 1985-2010 à travers trois concours internationaux : Chopin de Varsovie, Long-Thibaud de Paris et Tchaïkovski de Moscou." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040003.
Full textThe scientific work reveals various aspects of contemporary piano performance. Three international piano competitions were chosen – Chopin in Warsaw, Long-Thibaud in Paris and Tchaikovsky in Moscow – because it is through events like these ones that is exposed to its best the situation of pianistic art on a global scale. Given the complexity of our questions, we have shared our research in several areas: social and historical related to each analyzed musical competition, technical according to the chain composer-performer-listener, and artistic based on the study of interpretations of the finalists during the period 1985-2010, preceded by issues evaluation in this context.The general analysis of the current situation has highlighted the need of these competitions in contemporary musical life. If the aesthetic values of the modern world do not actually stimulate the formation of deep and strong personalities, a number of positive signs, however, seem to emerge from these events
Tchaikovski, Vadim [Verfasser]. "Inhibition of postangioplasty restenosis using antisense approach / Vadim Tchaikovski." Ulm : Universität Ulm. Medizinische Fakultät, 2003. http://d-nb.info/1015354696/34.
Full textFerreira, Susana Milena. "Poesia de A. K. Tolstoy em duas abordagens para canto e piano." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12783.
Full textNeste trabalho procurou-se fazer uma análise interpretativa e musical de seis poemas de Aleksey Konstantinovich Tolstoy, poeta, novelista de finais do séc. XIX, musicados pelos importantes compositores russos: Tchaikovsky e Rimsky-Korsakov.
In this work we tried to make an interpretative and musical analysis of six poems by Aleksey Konstantinovich Tolstoy, Russian poet, novelist and playwright, of the nineteenth-century, composed by great Russian composers such as: Tchaikovsky and Rimsky-Korsakov.
Beard-Stradley, Cloyce (Cloyce May). "A performer's analysis of Benjamin Britten's Phaedra, dramatic cantata for mezzo soprano and small orchestra, op. 93: a lecture recital, together with three recitals of selected works of H. Purcell, R. Schumann, R. Vaughan Williams, P. Tchaikovsky, G. Fauré, K. Löwe, G. Menotti, S. Barber and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935558/.
Full textLapinski, Bobby (Robert M. ). "The Orchestral Clarinetist's Guide to Selected Second Clarinet Excerpts." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984160/.
Full textBrown, Breighan Moira. ""Transforming chaos": modes of ambiguity in Tchaikovskys Symphony No. 5 in E Minor /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1187004301.
Full textAdvisor: Dr. David Carson Berry Title from electronic thesis title page (viewed Nov. 17, 2007). Includes abstract. Keywords: ambiguity; Tchaikovsky; thresholdism; Schenkerian Analysis; Rhythm and Meter; motivic parallelism; markedness; plagal ambiguity; subdominant; semiotics Includes bibliographical references.
Ilic, Nathalie. "La dame de Pique de Piotr Tchaikovski, mise en scène par Vsevolod Meyerhold en 1935." Paris, INALCO, 1995. http://www.theses.fr/1995INAL0015.
Full textDorozhkina, Elena V. "A Performer's Guide to the First Two Movements of Pyotr Tchaikovsky's Grand Sonata in G Major, Opus 37." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177192/.
Full textRudeforth, Helen Elizabeth. "Words, ideas and music : a study of Tchaikovsky's last completed work, the Six Songs, Opus 73." Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/666/.
Full textLukjanov, Julia. "Die antike Konzeption des Liebesbegriffes in der deutschen und russischen Literatur und Musik im 19. Jahrhundert anhand der Werke von E. T. A. Hoffmann, A. Puschkin, R. Schumann und P. Tschaikowski." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2010. http://dx.doi.org/10.18452/16104.
Full textThis work examines the expression of Love in an interdisciplinary approach to literature and music in Germany and Russia during the Romantic Period. The starting point is Socrates’ classical discourse about Love and his definition of it, which Plato recorded in his Symposium. This will be applied to and examined in the Romantic Period, first in German and Russian literature and later in Music. What changes occur in the reception of this term? What differences or possible parallels can be determined in the two cultures and mentalities that are different at first sight? What is the influence of the respective artists on these changes? The results will be applied to the individual works of the writers A. Pushkin and E.T.A. Hoffmann as well as the musical settings of these works by the composers P. Tchaikovsky and R. Schumann. This examination, which is based primarily on literature and literary criticism, places the concept of Love in the foreground, even above the person or the work of the respective artist. Therefore, the primary goal of this work is to follow the reception of Plato’s “theory of love” during the Romantic Period. The concepts of one’s own inconstancy, the development of beauty, and the path of love correspond with the metacognitive philosophy of the Romantics. The subject of love has particular significance today because of the media’s frequent discussions about the crisis of moral values. Love is transmedial. It transcends the subjective lives of humans, the objective external conditions, culture and mentality, literature and music; and it remains a desire, an ambition, an idea. Love is active and bridges every boundary as a communicational code or as nature’s utmost attempt to lead an individual out of himself and to another.
Georgiades, Rebecca. "Mozart, Beethoven, and Tschaikovsky: Their rich heritage of music." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/617.
Full textFortuna-Makarov, Virginia. "Les opéras de Tchaïkovski : dramaturgie du fatum et intériorisation du drame musical." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040091.
Full textTchaikovski’s music is an inexhaustible source, like a book that one can read and read over again, still containing among the most interesting pages. This work intend to approach the Tchaikovski’s operas from the angle of the fatum’s dramaturgy : dramaturgy as thinking structure, meaning evocative, as it contains the way of thinking of its creator ; and fatum as an ineluctable force, omnipresent in the creation of this romantic composer. In order to build what would be the musico-dramatic system of Tchaikovski, we searched the fondamental axes – commun for all these works –, dissociating the acting forces of the dramatic action. This work want to be also a try to put in concrete form the realization in music of one of the fondamental dramaturgical category – the conflict. It propose also a synthesis of some of the formal, tonal and orchestral principles serving the goal of a opera dramaturgy, subtle and efficient in the same time
Hutchings, Jessica. "Tchaikovsky : a tribute." Thesis, 2003. http://spectrum.library.concordia.ca/1986/1/MQ77640.pdf.
Full textSellinger, Dionne Rachelle. "Role of tatiana in Eugene Onegin by Tchaikovsky." Thesis, 2006. http://hdl.handle.net/2429/17760.
Full textArts, Faculty of
Music, School of
Graduate
Chen, Wan-Ling, and 陳婉玲. "Comparison of Berlioz Symphonie Fantastique and Tchaikovsky Manfred Symphony." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/40400454251394688838.
Full text國立師範大學
音樂學系
83
This essay's argument can be divided into three parts: 1.Musical Composition Background-Included composer's life and the story of composing on the two pieces of original work. 2.Comparison of Works'Content-Included body musical analysis and inner original works'content.Furthermore,original works' content discussed the dramatization and the design of the fixed reading technique from the literature background of the music.3. Comparison of Conductors'Style-Comparison of the conductors' style between the basic and the interpretat- ion of the work. In summary, these three elements form the framework of the comparison,and the results of comprehensive study for each part form a whole.In the paper, part of the investigation focuses on confirming conclusions,part focuses on the impressions one receives, and part focuses on research findings.Comparative analysis of musical work is enlighten- ing:resourceful scholarly research can expand the field of vision.
Sun, Ai-Kuang, and 孫愛光. "The Study of Tchaikovsky Symphony No.5 op.64." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/50585158356481897307.
Full text國立師範大學
音樂學系
81
The study of the Tchaikovsky fifth symphony centers on reserch of interpretation for conducting. This symphony was written during his last compositional period (1885- 93) in 1888, ten years after the fourth symphony. Tchai- kovsky incorporates the Russian and Polish folktune and western writing techniques into his own unique style. The thesis contens six main parts. Chapter one is the introduction of the paper. Chapter two briefly discuss Tchaikovsky's life and musical creation. Chapter four and five feature the main part of the entire study, including stylelistic and formal analisis, instrumenta- tion, orchestration, interpretation and how to train and conduct this symphony. Tchaikovsky employs the traditional symphony formal structure in the first, second, and fourth movements. He incorporates the French waltz structure in the third movement. The composer concludes the symphony with heroic, marching style in a major key, which represents his victory over the fate.
Lee, Ying-ying, and 李盈瑩. "The version compared about Tchaikovsky Variation on a Theme Rococo." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/6w24qc.
Full text國立中山大學
音樂學系研究所
96
In the nineteenth century, Tchaikovsky was an important, representative composer in Russia and succeeds the prior previous musical development of Russia. Back then, I think this what was mean type of works were quite fundamental. In 1876, he had written the cello piece, “Variation on a Theme Rococo,” and dedicated to a cellist, Fitzenhagen. Fitzenhagen changed the sequence for the variations, deleted and rewrote some segments. As a result, it made the version different from the one that was composed by Tchaikovsky. The version edited by Fitzenhagen was published, and it has been played until now. This lecture-recital document contains the following two main sections. First, it describes the biographical information about Tchaikovsky, his works accompanied by orchestra, and the friendship between Tchaikovsky and Fitzenhaen. The second part, compares the changes in the sequence of the variations between Fitzenhagen version and Tchaikovsky’s Original version that examines the terminology, the role and the decoration of the bridge section ,and it offers some ways for practicing skills for Fitzenhagen’s version.
Lee, Tai-Chih, and 李岱值. "The Study and Conducting Interpretation of Tchaikovsky Symphony no. 5." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/99711131195831773549.
Full text國立臺灣師範大學
音樂學系
104
Tchaikovsky Symphony No. 5 is one of the composer's last three symphonies. This piece embodies characteristics of Beethoven Symphony No. 5, specifically the skillfully constructed “cyclic form” arrangement. Furthermore, it is widely accepted that the symphony features the “fate theme”. However, I would like to argue that it features a similar but different theme, the “Motto theme” (a theme that occurs throughout the whole piece). This style of theme and the previously described musical arrangement has allowed Tchaikovsky's fifth symphony to take a rather prominent standing in the history of symphonic music. Although the recurring theme throughout this piece is the “Motto theme”, is it fair to subsequently characterize this symphony as program music? This question is still being discussed by the current day music academia. This dissertation focuses on the analysis of Tchaikovsky's fifth symphony, a work which is seldom discussed by academic papers from Taiwan. This dissertation analyses the musical tonality, structure and the composer's line of creative thinking for this particular symphony. Such an analysis will be explained from a conductor's point of view.
Lin, Shing-Yi, and 林欣怡. "Analysis and Interpretation of Tchaikovsky《The Seasons,Opus 37》for Piano." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/ahb43m.
Full textLee, Ying hui, and 李映慧. "The Analysis and Interpretation of violin concerto op.35 by Tchaikovsky." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/53465202935349715569.
Full textCheng, Hsiao-Ching, and 鄭筱清. "Analysis and Interpretation of Tchaikovsky''s 《Dumka, Op. 59》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/01832140482873002340.
Full text台南應用科技大學
音樂研究所
100
Tchaikovsky’s Dumka, Op.59 , was composed in 1886 and published in 1887. Bearing the subtitle “Russian village scene”, Dumka is full of Russian countryside atmosphere and demonstrated Slavic characters strongly. This thesis is dedicated to the research of Tchaikovsky’s Dumka . By investigating the musical elements, structure, and background of Dumka , the researcher wishes to search for a reasonable way to analyze and interpret this composition. This thesis is divided into six chapters. Chapter One explains the research purpose and the methodology. In Chapter Two, the researcher examines Tchaikovsky’s background and work by dividing the composer’s life into three stages. Chapter Three investigates “Dumka” as a musical genre and looks at the development and structure of this Slavic dance form. Chapter Four is devoted to musical analysis of Tchaikovsky’s Dumka through the discussion on musical elements such as form, dynamics, tempo, and tone color. In Chapter Five the researcher focuses on the interpretation of Dumka and attempts to establish a sensible way to perform the piece which truly reveals Tchaikovsky’s portrait of resolute Russian temperaments and rustic dance. Chapter Six concludes this thesis by presenting the significance and influence of Tchaikovsky’s Dumka to Russian music.
Chang, Yu-Chia, and 張育嘉. "The Synthesis of Poetry and Music in The Seasons by Tchaikovsky." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/97eth7.
Full text國立臺南藝術大學
音樂學系碩士班
106
Music and literature have always been closely related to each other until this day. Doubtlessly, the development of both art forms complements each other throughout history. The purpose of this paper is to investigate the combination of literature and music. Tchaikovsky: The Seasons, Op.37b which consists of twelves pieces with titles was composed between 1875-1876. The set describes the different characters of the 12 months in Russia including its natural scenery, festivals and people’s lives, etc. A poem exists along with each month and the music is consistent with the content of the poetry. This paper will take Tchaikovsky: The Seasons, Op.37b as an example to explore the combination of poetry and music form, and analyze how the composer conveys the content and conception of the poems by piano music.
ZHU, FANG-JIE, and 朱芳頡. "Analysis and Interpretation of Tchaikovsky 《The Seasons, Opus 37a》 for piano." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/zxsmdx.
Full text國立東華大學
音樂學系
107
Peter Ilyitch Tchaikovsky is one of the most distinguished Russian composers in the world of the 19th century. The Russian folk elements were employed in his works to show his patriotic passion. The essence of this thesis is based on researching of Tchaikovsky’s Piano solo work " The Seasons", Op.37a. There are five chapters in this research. The first chapter is an introduction, which states the motive and purpose of this research. The second chapter focuses on the composer’s life and his piano works. The third chapter expands on the background of the " The Seasons, Op.37a" and analysis on form, tonality and rhythm. The fourth chapter is an interpretation and performance practice. The fifth chapter will conclude with the result of my research.
Chung, Bin yi, and 鍾炳宜. "A Interpretational Research on Three Cello Works by Bach, Haydn and Tchaikovsky." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/53981305087712805998.
Full textLin, Chen-Yi, and 林承毅. "Analysis and Interpretation of Pyotr Ilich Tchaikovsky 6 Morceaux for piano, op.19." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/psx4sq.
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