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Littérature scientifique sur le sujet « Music interpretation analysi »

Auteur : Grafiati
Publié le 9 mars 2023
Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Music interpretation analysi"

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Zolotareva, Natalia, et Maria Panchenko. « The features of the interpretation Concert e-moll for cello and orchestra by A. Khachaturyan ». Музикознавча думка Дніпропетровщини, no 19 (30 décembre 2020) : 170–81. http://dx.doi.org/10.33287/222044.

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The purpose of this scientific represented publication is to reveal the peculiarities of the interpretation of the concerto in e-moll for cello and orchestra by Aram Khachaturian into representatives of different cello schools. The research methods is based on general scientific principles of research, such as analysis, synthesis, deduction, induction and special, a namely historical approach, method of interpretative analysis, comparative way, performance analysis and many others scientific manners. The scientific novelty of this submitted research article is that for the first time in domestic musicology the performing analysis of Aram Khachaturian’s cello concerto by musicians Denis Shapovalov and Jan Maksin was studied by investigators of this scientific article. The conclusions of the represented research publication to indicate that the famous cello concerto e-minor by Aram Khachaturian in the interpretation of representatives for different cello schools has a number of significant differences from the author’s musical text. The specialized performance of this concert by amazingly famous cellists concerns the tempo, strokes, dynamics, phrasing, but at the same time, both Denis Shapovalov and Jan Maksin sought in their performance interpretations to reveal the composer’s idea in accordance with Aram Khachaturian’s own sense of music. Comparing the performance interpretations of the concerto in E minor for cello with the orchestra of Aram Khachaturian, it was determined that they are due to the personal qualities of the performers. The all „borders” were opened for astonishingly famous instrumentalists Denis Shapovalov and Jan Maksin to reveal their own feelings and fantasies awakened by Aram Khachaturian’s music. Each of the well-known cellists demonstrated their own vision of the concert, and their performance interpretations revealed the composer’s idea.
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Золотарьова, Н. С., et Т. О. Оліферовська. « ВПЛИВ ВИКОНАВСЬКОЇ ШКОЛИ НА ІНТЕРПРЕТАЦІЮ ТВОРУ (на прикладі віолончельного концерту А. Дворжака) ». Музикознавча думка Дніпропетровщини, no 15 (4 novembre 2019) : 149–63. http://dx.doi.org/10.33287/221912.

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The purpose of this article is analysis of possible versions concerning the interpretation of the Antonin Dvorak’s concert for cello with orchestra, h-moll or. 104, their origin and influence on the manner of performance. Moscow and Leningrad schools are taken as an example. Schools of S. Kozolupov and O. Strimer represent vividly different views on means of theory and interpretation. In my opinion, the most colorful and controversial on the matter of interpretation are the following representatives of the music schools: M. Rostropovich as a representative of the S. Kozolupov views and D. Shafran for O. Strimer school. These cellists are interesting not only because of their vivid difference in the vision of theory and interpretations of music works, but also by the fact that they have made a lot of effort to popularize the cello and bring it to the level of solo instrument as high as the violin and piano. The methods of this research consist of historical, empirical, practical, interpretive-comparative approaches, which are based on examination of performance versions through the prism of the pedagogical schools influence on the aspects of the art-technological plan. The scientific novelty consists in the lack of material on the comparison of interpretative versions of the concert for cello A. Dvorak h-moll op. 104 performed by Soviet cellists Mstislav Rostropovich and Daniil Shafran, in terms of the influence of "school" on technical techniques and artistic vision of the work, which is considered as an example, in his genre, of the most striking combinations of deep lyricism, drama and the need for a masterly skills of instrument proficiency. It’s one of a few favorite concerts of the Romantic era among the soloists of cello. Thus, it contains a broad background for an interpretative analysis. Conclusions. Comparison of interpretative versions, as a method of performing analysis contributes to a vivid representation of the artistic content of the work, helps to find its own style combining already used technical and agogic techniques of the performance with new artistic views.
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Shcholokova, Olha, Natalia Mozgalova et Iryna Baranovska. « Interpretation of musical composition : a methodical aspect ». Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no 3 (128) (31 octobre 2019) : 151–58. http://dx.doi.org/10.24195/2617-6688-2019-3-21.

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The article presents the issue regarding activation of artistic and interpretative activities of the students majoring in musical specialties at higher pedagogical educational institutions. The artistic-interpretative activity is considered as a factor of students’ creative development, growth and self-realization. The method of categorical analysis of the issue “interpretation” facilitated the establishment of a number of its values which were considered and implemented in the step-by-step experimental methods of training future music teachers in interpreting musical works. The course and results of the ascertaining stage of the pedagogical experiment have been presented. Based on the hermeneutical and artistic-mental approaches, the experimental methods of training students in interpreting musical works have been elaborated and presented. A wide range of methods of instrumental learning, performing exercises and independent artistic-interpretative tasks that determine the hierarchy of stages (initial-establishing, content-oriented and technological, analytical-final) of the presented methodology has been considered. The effectiveness of the text-centric paradigm of teaching in the practice of instrumental training of the future music teachers basing on a complex use of individual teaching methods alongside with dialogical methods of performing immersion, palliative and facilitation has been proved. The introduction of the lecture course “Fundamentals of Musical Interpretation”, the use of a complex of methods (analytical, practical, creative) and various artistic and interpretative tasks contributed to the increase of the respondents’ motivational orientation and activity as well as the increase of their interest in the artistic and interpretative activities. The results of the research and experimental work on the implementation of the methodology of training future music teachers in interpreting musical works testify to its expediency and effectiveness. Keywords: hermeneutical approach, interpretation, musical work, artistic and interpretive activity, teachers of Music.
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Boutard, Guillaume, et François-Xavier Féron. « Documenting acousmatic music interpretation ». Journal of Documentation 75, no 1 (14 janvier 2019) : 99–119. http://dx.doi.org/10.1108/jd-03-2018-0037.

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PurposeExtending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. The purpose of this paper is to present the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation.Design/methodology/approachThe methodology relies on the grounded theory. A total of 12 Interviews were conducted over a period of three years in France, Québec and Belgium, grounded in theoretical sampling.FindingsThe analysis outcome describes eight dimensions in acousmatic performance, namely, musical, technical, anthropological, psychological, social, cultural, linguistic and ontological. Discourse profiles are provided in relation to each participant. Theory development led to the distinction between documentation of interpretation as an expertise and as a profession.Research limitations/implicationsData collection is limited to French-speaking experts, for historical and methodological reasons.Practical implicationsThe model stemming from the analysis provides a framework for documentation which will benefit practitioners and organizations dedicated to the dissemination of acousmatic music. The model also provides this community with a tool for characterizing expert discourses about acousmatic performance and identifying content areas to further investigate. From a research point of view, the theorization leads to the specification of new directions and the identification of relevant epistemological frameworks.Originality/valueThis research brings a new vision of acousmatic interpretation, extending the literature on this repertoire’s performance with a more holistic perspective.
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Radiushyna, Svitlana, et Maryna Tkachenko. « Pedagogical conditions for the development of future Music teachers’ interpretative skills in the process of choral and conductorial training ». Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no 1 (130) (7 février 2020) : 90–98. http://dx.doi.org/10.24195/2617-6688-2020-1-12.

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The article analyses the essence, content and specificity of future music teachers’ interpretive skills. The purpose of the article is to substantiate pedagogical conditions favourable for effective development of future music teachers’ interpretive skills in the process of their choral and conductorial training. These methods of theoretical research are used: analysis, generalisation, synthesis, extrapolation, deduction, systematisation. Interpretation is seen as the basis and the necessary condition for understanding a piece of music, the subjective (personal) attitude and creative imagination of a teacher of music being of great importance. The essence of interpretation in the context of the activity of the Musical Arts teacher lies in the interpretation of an artistic text which reflects the content of the author's message in key note symbols. In the activity of the Musical Arts teacher, there are two forms of interpretation: performing and verbal-pedagogical. The interpretation of the choral work is considered in the article as an artistic-performing conception of the conductor which is based on his/her artistic and imaginative ideas, knowledge; it is realised in his/her creative interaction with the choral team. The list of specific interpretive skills to be demonstrated by the future Music teachers in the context of choral and conductorial training has been clarified. A system of interrelated pedagogical conditions has been offered, it includes these constituents: increase of future specialists’ motivation for the choral and conductorial activities through realisation of the axiological potential of choral music; the implementation of the coaching pedagogical technologies into the choral and conductorial training intended for the future Music teachers; a systematic widening of future specialists’ thesaurus of artistic and imaginative ideas. Further research involves the development of a step-by-step methodology for the development of future Music teachers’ interpretative skills in the process of their choral training.
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Zhabeva-Papazova, Julijana. « Women 's voices in alternative music : Lisa Gerrard and Elizabeth Fraser ». New Sound, no 46 (2015) : 76–83. http://dx.doi.org/10.5937/newso1546076z.

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This paper deals with the analysis of Lisa Gerrard's and Elizabeth Fraser's vocal styles that promoted a new way of singing on the alternative music scene. Instead o f the traditional usage of lyrics in the English language as their mother tongue, they use so called 'glossolalia', meaning wordless, or substituting language with a melodic, exploratory rapture by their vocal range alone in a couple o f octaves. The main points of analysis are the relationships between the vocal interpretation and instruments, music form, main melodic themes, rhythm, accomplished with iconography in the relationship between vocal interpretations and stage performances.
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Taryadi, Taryadi, et Bakhrudin Latif. « Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel ». Resital : Jurnal Seni Pertunjukan 23, no 1 (30 avril 2022) : 62–73. http://dx.doi.org/10.24821/resital.v23i1.6758.

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The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era.
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Taryadi, Taryadi, et Bakhrudin Latif. « Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel ». Resital : Jurnal Seni Pertunjukan 23, no 1 (30 avril 2022) : 62–73. http://dx.doi.org/10.24821/resital.v1i1.6758.

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The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era.
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Ding, Hao. « Another Approach to Musical Interpretation ». Chinese Semiotic Studies 16, no 3 (26 août 2020) : 439–58. http://dx.doi.org/10.1515/css-2020-0024.

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AbstractMusic is neither a construction of pitches nor a linear arrangement of vocal parts, but rather an energetic shaping through time that integrates articulation, harmony, melody, and rhythm. Music expresses a kind of gesture in the dimension of sounds. In most cases, musical expressions, compared to linguistic expressions, are more like a state of motion or a behavior of sounds originating from physical sensations. Musical gesture can interpret the emotional expression and meaning of music from a perspective that is closer to the nature of music. Such an interpretation is not constrained by the traditional analysis of form and content, self-discipline and heteronomy, subjectivity and objectivity. It is more about how to stimulate the sensory systems to join in and understand the behavior and contents of music expressions in order to synthesize the meaning of music in different dimensions.
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SUKMARAGA, AYYUB ANSHARI. « TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD ». Serat Rupa Journal of Design 1, no 1 (19 janvier 2018) : 171. http://dx.doi.org/10.28932/srjd.v1i1.448.

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For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
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Thèses sur le sujet "Music interpretation analysi"

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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 Filho
Banca: 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.
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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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Livres sur le sujet "Music interpretation analysi"

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Cortot, Alfred. Alfred Cortot's studies in musical interpretation. New York : Da Capo Press, 1989.

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Leopold, Auer. Violin master works and their interpretation. Mineola, N.Y : Dover Publications, 2012.

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Ritzkowski, Klaus. Interpretation lesen : Analytische Studien zur Interpretation von Anton Weberns Klaviervariationen op. 27. Tutzing : Schneider, 2009.

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Davidsson, Hans. Matthias Weckmann : The interpretation of his organ music. Stockholm : Gehrmans Musikförlag, 1991.

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Agawu, V. Kofi. Playing with signs : A semiotic interpretation of classic music. Princeton, N.J : Princeton University Press, 1991.

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1928-, Poos Heinrich, dir. Chormusik und Analyse. : Beiträge zur Formanalyse und Interpretation mehrstimmiger Vokalmusik. Mainz : Schott, 1997.

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Song interpretation in 21st-century pop music. Farnham, Surrey : Ashgate, 2015.

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Berry, Wallace. Structural functions in music. New York : Dover, 1987.

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Klier, Johannes. Werkanalyse und Interpretation auf der Gitarre. Wilhelmshaven : Heinrichshofen, 1985.

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Alfred Cortot's studies in musical interpretation. New York : Da Capo Press, 1989.

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Chapitres de livres sur le sujet "Music interpretation analysi"

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Ogihara, Mitsunori, Brian Manolovitz, Vítor Y. Shinohara, Gang Ren et Tiago F. Tavares. « Graph-Based Representation, Analysis, and Interpretation of Popular Music Lyrics Using Semantic Embedding Features ». Dans Handbook of Artificial Intelligence for Music, 737–70. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_26.

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« Analysis And Interpretation ». Dans Music and Knowledge : A Performer's Perspective, 115–21. Brill | Sense, 2017. http://dx.doi.org/10.1163/9789463008877_015.

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Lemish, Noam, Peter Lemish, Parisa Sabet Sarvestani et Dan Deutsch. « “In Toronto, Iranians and Israelis Make Music, Not War” ». Dans Advances in Media, Entertainment, and the Arts, 127–48. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1986-7.ch007.

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Engaged musicking creates enjoyable, meaningful aesthetic experiences and strengthens citizen engagement in public policy. This case study of March 2015 Converging Paths concert in Toronto, organized by the Israeli-Iranian Musical Initiative, demonstrates how acting through this worldview included political communication as a key sphere of action. Applying Mannheim's Documentary Approach, three interpretations are presented: The Objective Interpretation details what occurred. Subjective Interpretation presents analyses of organizer-composer-musicians' explanations for why and how they constructed and communicated their alternative political narrative. Documentary Interpretation explains how organizers' initiatives, including political communication, are consonant with efforts by critical communicators, conflict transformation through social change, audiotopias.
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Tomaszewski, Mieczysław. « Reading a Work of Music from the Perspective of Integral Interpretation ». Dans Music, Analysis, Experience, 61–82. Leuven University Press, 2015. http://dx.doi.org/10.2307/j.ctt180r0s2.9.

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Williamon, Aaron, Jane Ginsborg, Rosie Perkins et George Waddell. « Qualitative analysis ». Dans Performing Music Research, 231–58. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198714545.003.0009.

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Chapter 9 of Performing Music Research introduces the characteristics of qualitative analysis, focusing on the interpretative role of the researcher. Given that large volumes of information are typically collected in qualitative enquiry, the chapter presents ways of organizing and storing data and discusses the strengths and limitations of computer-assisted analysis. It goes on to discuss three types of qualitative analysis: thematic analysis, suitable for identifying patterns of meaning across data collected from multiple participants; interpretative phenomenological analysis (IPA), suitable for understanding the lived experience of individual participants; and qualitative synthesis, suitable for developing a holistic account based on a synthesis of the data. Throughout, the chapter explains how to report qualitative results efficiently and effectively.
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Johnson, Peter. « ‘Expressive Intonation’ in String Performance : Problems of Analysis and Interpretation ». Dans The Music Practitioner, 79–90. Routledge, 2017. http://dx.doi.org/10.4324/9781315085807-7.

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O’Reilly, Dr Daragh, Dr Gretchen Larsen et Dr Krzysztof Kubacki. « Music and Collectivity ». Dans Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2253.

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The purpose of this chapter is to explore issues of music and collective consumption by using notions such as consumer culture, consumer tribes, brand communities and scenes. This is not intended to be an exhaustive analysis of music and community or collectivity. Rather, this chapter focuses specifically on a number of ideas which have potential implications for the analysis, interpretation and understanding of music markets. Part of the contribution of this book is to examine what they buy us in terms of understanding exchange relationships, what their limitations are, and how these limitations might be remedied by combining them with social identity and consumer culture theory. The discussion of brand community builds on the earlier discussion of branding in Chapters 5 and 6. The focus of consumer tribes builds on the discussion in Chapter 7 about music consumption by focusing on collective aspects of consumption. The notion of scenes is one which has emerged within music studies.
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« An Analysis of Space, Gesture and Interaction in Kings of Leon’s ‘Sex On Fire’ ». Dans Song Interpretation in 21st-Century Pop Music, 137–54. Routledge, 2016. http://dx.doi.org/10.4324/9781315609881-14.

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« Andrés’s ‘New For U’ : New for Us. On Analysing Electronic Dance Music ». Dans Song Interpretation in 21st-Century Pop Music, 155–78. Routledge, 2016. http://dx.doi.org/10.4324/9781315609881-15.

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« Metrical Ambiguity or Microrhythmic Flexibility ? Analysing Groove in ‘Nasty Girl’ by Destiny’s Child ». Dans Song Interpretation in 21st-Century Pop Music, 75–94. Routledge, 2016. http://dx.doi.org/10.4324/9781315609881-11.

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Actes de conférences sur le sujet "Music interpretation analysi"

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Felician, Rosca. « MUSIC IN E-LEARNING CULTURE ». Dans eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-098.

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Although they look like a paradoxical phenomenon, vocational studies have found their place in distance education. The beginnings of this type of education can be found in Japan and Israel where experiments were conducted in the early 1990s looking for teaching methods addressing groups of children playing keyboard instruments that can be monitored through digital systems. Today we have hundreds of this type of school. Even if the subject seems to be controversial the e-learning system, with its modern distance learning concepts has a well-established tradition by the series of graduates of all major music subjects at Gh. Dima Music Academy in Cluj Napoca. This system and especially the possibility to update it are the main focus of my paper and I would like to offer a professional analysis as well as a number of practical ideas to adjust the education system and the methodology that can be used in a university education system that has a functional e-learning platform. The practice in the vocational music education system, both under its theoretical and practical forms implies the development of a platform and a specific support. If as far as the theoretical subjects are concerned we have a platform based on texts, graphics and experiments, in the field of music they will be based on examples from music, practical lessons, musical analysis regarding different music interpretation techniques, creativity studies and stage techniques, etc. Such a system implies a bulk of methods that can be recorded on video and that are obligatory in a student-centered interactive system.
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Ćalić, Maja R., et Jelena R. Grkić Ginić. « Odlike i funkcionalnost pesama u udžbenicima za muzičku kulturu za treći razred osnovne škole ». Dans Nauka i obrazovanje – izazovi i perspektive. University of Kragujevac, Faculty of Edaucatin in Uzice, 2022. http://dx.doi.org/10.46793/noip.415c.

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Given the fact that a song represents the basis, the primary content as well as the central topic in teaching Music Education in primary school, this paper aims to clarify the functionality and features of songs by analyzing a selection of music textbooks for the third grade of primary school, that is, by identifying and determining this effective musical content, its role and effectiveness in the musical development of students. The aim of the paper is to theoretically analyze the melodic-rhythmic and thematic features of songs, determine their functionality as well as their interplay in the textbooks and on CD. The analysis shows that the songs in the selected textbooks are age-appropriate as regards their melodic-rythmical features and themes. The functionality of the songs is aimed at developing a sense of rhythm, vocal apparatus as well as musical literacy. Audio materials open up new possibilities for song interpretation through karaoke.
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Liu, Lu. « Analysis on Interpretation of Humanistic Implication by Schubert's Piano Music ''Based on Piano Impromptus Playing ». Dans 2015 International Conference on Education Technology and Economic Management. Paris, France : Atlantis Press, 2015. http://dx.doi.org/10.2991/icetem-15.2015.40.

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Coop, Allan D. « Sonification, Musification, and Synthesis of Absolute Program Music ». Dans The 22nd International Conference on Auditory Display. Arlington, Virginia : The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.030.

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When understood as a communication system, a musical work can be interpreted as data existing within three domains. In this interpretation an absolute domain is interposed as a communication channel between two programatic domains that act respectively as source and receiver. As a source, a programatic domain creates, evolves, organizes, and represents a musical work. When acting as a receiver it re-constitutes acoustic signals into unique auditory experience. The absolute domain transmits physical vibrations ranging from the stochastic structures of noise to the periodic waveforms of organized sound. Analysis of acoustic signals suggest recognition as a musical work requires signal periodicity to exceed some minimum. A methodological framework that satisfies recent definitions of sonification is outlined. This framework is proposed to extend to musification through incorporation of data features that represent more traditional elements of a musical work such as melody, harmony, and rhythm.
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Ogihara, Mitsunori, Daniel Galarraga, Gang Ren et Tiago Tavares. « The Semantic Shapes of Popular Music Lyrics : Graph-Based Representation, Analysis, and Interpretation of Popular Music Lyrics in Semantic Natural Language Embedding Space ». Dans 2018 17th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2018. http://dx.doi.org/10.1109/icmla.2018.00203.

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Hanganu, Dumitru, et Svetlana Badrajan. « Aspects of the treatment of the technical-expressive and interpretative means of the trumpet in the Concert Study by Alexandr Sochireanschii and Oleandra by Vladimir Slivinskii ». Dans Patrimoniul cultural : cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.05.

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The instrumental chamber music works by composers from the Republic of Moldova are rich and diverse, both in terms of the musical genres addressed and the instruments required, either for the ensemble or solo parts. The trumpet, an instrument with wide technicalinterpretative and expressive possibilities, offers composers an ample opportunity for harnessing its potential. The two works, which we will analyze from an interpretive point of view – “The Concert Study” for trumpet and piano (in B) by Alexandr Sokireanski (1977) and “Oleandra” for trumpet and piano (in B) by Vladimir Slivinski (1979), are part of the active repertoire of trumpeters and are of interest to researchers. They require certain execution skills and a certain level of handling the instrument, as they contain elements with a high degree of difficulty; we refer here to the rhythmic structure, the complexity of dynamic nuances, technical elements, the change of tempo during the proceeding of the musical discourse, the exploitation of the acute register of the trumpet.
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Мир-Багирзаде, Ф. А. « Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi ». Dans Современное социально-гуманитарное образование : векторы развития в год науки и технологий : материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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ČIULDĖ, Edvardas, et Asta STEIKŪNIENĖ. « THE COUNTERPOINT OF EARTH AND WORLD MEANINGS IN THE NATIONAL IDENTITY’ EXPRESSION ». Dans RURAL DEVELOPMENT. Aleksandras Stulginskis University, 2018. http://dx.doi.org/10.15544/rd.2017.223.

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The meanings of the earth and the world can be associated with issues of national identity. In the article, the issues of fostering national identity are discussed in the context of M. Heidegger's philosophy‘s outlook on a land and world disputes. The article tries to define how much a nation can be an object of scientific cognition. Understanding the nation as a resistance to limiting objectification is a methodological background to the development of the topic, which obliges the philosophical interpretation of the problem to be trusted, at least as a scientific reduction of the problem. Sketches of the earth and the world we use as a kind of catalysts of intellectual imagination and methodological guides. The main aim of the article is the attempt to analyze the conditions of the expression of the national identity in terms of both the subject matter and the non-objective reflection, where different approaches complement each other (what we call by the term "counterpoint", borrowed from the theory of music). The collision of national identities through Martin Heidegger's typology of images has not been examined before. There are also discussed the untapped reserves for nurturing Lithuanian identity - both spiritual and economic. The aim is to refine the political awareness of the Public Treaty model raised by the Enlightenment thinkers. Land is an important factor in the economic development of a so ciety and the object of economic exploitation, but, more importantly, it is a standpoint in establishing and maintaining the nation's vitality. The dispute between the earth and the world which foster the thesis of national identity acquires the essence of the truth of being.
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Bandalo, Višnja. « ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING ». Dans NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Rapports d'organisations sur le sujet "Music interpretation analysi"

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Hagel, Stefan. Understanding early auloi : Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, octobre 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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