Thèses : « Music performance 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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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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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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Cordoba, Derick. « An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital ». FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophone and drums.

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Hansen, Christopher M. « An Analysis of Influences on Choral Performance Adjudicators' Rating Decisions of Choral Performance ». Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10260567.

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The purpose of this study was to (a) examine influences on choral music adjudicators’ rating decisions of choral performance quality and (b) to see if differences existed among those influences by participants’ years of adjudication experience and academic training (degree focus). Part One of the study included eight randomly selected participants (N = 8), comprised of choral adjudication experts, to aid in the construction of the data collection instrument. Part Two of the study included a convenience sample (N = 71) comprised of choral music performance adjudicators within the southeastern United States.

For the primary purpose, the Choral Adjudicator Preference Scale (CAPS), a researcher-constructed data-gathering instrument, was developed to determine influences on choral adjudicators’ rating decisions of choral performance. A Cronbach’s Coefficient Alpha measure of internal consistency was calculated to establish reliability of the CAPS data collection instrument. A coefficient of .934 was found for the CAPS, which indicated a high level of internal consistency. Validity for the data-gathering instrument was established through three sources, (a) an open-ended questionnaire sent to the eight choral adjudicators, (b) a thorough review of the related literature and (c) verification by choral activities chairpersons among the southeastern states. For research question one (What factors influence adjudicators’ decisions when adjudicating choirs?) a principal component analysis revealed 23 items that coalesced among four factors of influence: (a) the ensemble’s performance, (b) visual aspects, (c) extra-musical aspects, and (d) the conductor’s contributions. These four factors accounted for 61.49 percent of the total variance in participants’ responses.

For the secondary purpose, a two-way repeated measures analysis of variance was calculated to determine if differences existed among factors of influence by participants’ years of adjudication experience and academic training (degree focus). For research question two (Do differences exist among adjudicators’ influences on rating decisions by years of adjudication experience?) a significant main effect was found for the factors, F (3, 189) = 216.581, p = .000, η² = .775; however, there was no main effect for years of adjudication experience, nor an interaction effect among the factors and years of adjudication experience. For research question three (Do differences exist among adjudicators’ influences on rating decisions by academic training?) a significant main effect was found for the factors, F (3, 201) = 195.326, p = .000, η² = .745; however, there was no main effect for academic training, nor an interaction effect among the factors and academic training.

A discussion of the influences on choral adjudicators’ rating decisions was presented. Recommendations for future research were suggested regarding music performance adjudication, influences on rating decisions, and characteristics of evaluators.

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Giareta, 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.

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Orientador: Nahim Marun Filho
Banca: 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

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Handshoe, John Douglas. « TYLER KLINE’S RENDER : A FORMAL ANALYSIS AND PERFORMANCE GUIDE ». UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/130.

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Since the 1950s, composers worldwide have explored the use of the trombone in new and exciting ways, from expanding the functional range of the instrument to creating unique timbres through the use of mutes and extended techniques. Since then, many standard works in the literature have been born from this pushing of the envelope from composers like John Cage, Luciano Berio, Iannis Xenakis, and Daniel Schnyder. On the forefront of the newest crop of composers expanding the voice of the trombone is Tyler Kline (b. 1991). This project will function as a formal analysis and performer’s guide to his 2015 work render for bass or tenor trombone and fixed electronics. Through examination of this music, as well as a discussion with the composer and performances of this work, the performer will gain insight into the inspirations behind this work, Kline’s compositions on the whole, as well as performance considerations for this work. In addition to the performance guide, a recording of render, as well as several other works of Kline’s, will be produced and released as an album through New Branch Records in Lexington, KY.

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Vaughan, Victoria. « Music analysis and performance interactions within the undergraduate curriculum ». Thesis, University of Southampton, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298981.

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Horvath, Kathleen A. « Biomechanical Analysis of Double Bassists' Performance Postures ». The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392115404.

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Chung, Hee. « Igor Stravinsky's three movements from Petrushka : an analysis of performance practice ». Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260196469.

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González, Jimmy. « A comparative analysis of band contest practices in ten different states across the nation ». To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Davis, Justin C. « Steven Bryant's Solace| A conductor's analysis and performance guide ». Thesis, The University of North Carolina at Greensboro, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3609558.

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The purpose of this study was to examine Solace, a musical composition for wind ensemble, by Steven Bryant composed for the University of North Carolina at Greensboro Wind Ensemble and premiered at the 2013 College Band Directors National Association National Conference. Through a conductor's analysis and performance guide, the author provided insight and background knowledge to all future performers and interpreters of the work through unique first hand accounts from commission to premiere performance.

The research method included three processes: 1. A detailed analysis of the musical score, 2. The observation of rehearsals and recording sessions during preparation for the premiere performance of Solace by the University of North Carolina at Greensboro Wind Ensemble, Kevin M. Geraldi, conductor, 3. Extensive interviews of Steven Bryant, composer and Kevin M. Geraldi, conductor. Through examination of prior research on electro-acoustic works for wind ensemble, the author examined Solace within those constructs. Because of the blurring of lines between electronics and acoustic sound, the author further identified Solace as a unique musical composition within the electro-acoustic genre.

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Cold, Benjamin T. « Analysis of a recital : a report on Piet Swerts’ Klonos and Ingolf Dahl’s Concerto for alto saxophone and wind orchestra ». Kansas State University, 2012. http://hdl.handle.net/2097/14991.

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Master of Music
School of Music, Theatre, and Dance
Anna Marie Wytko
Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra is considered a master concert work in saxophone literature. The work was written for saxophone pioneer Sigurd Rascher who was active in commissioning new works for the instrument. Piet Swerts’ Klonos, composed over 40 years after Dahl’s Concerto, is a much newer composition. The work has gained national recognition as a popular competition piece and is a synthesis of new and old compositional styles. These two works strongly showcase the flexibility and virtuosity capable of the skilled saxophonist. This master’s report, presented as extended program notes, includes biographical information about the composers, a historical and stylistic overview of the selected compositions, and a harmonic and formal analysis of the music with respect to performance considerations.

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Steinweg, David A. « Improvisational Music Performance : On-Stage Communication of Power Relationships ». Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4407.

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This project explores how musical improvisational processes come into being through interacting discursive power relationships that are embodied and enacted through performance. By utilizing the concepts of framing and performativity I am able to show how discursive power constitutes the performance of improvisational music. To exemplify this theory, the project presents a case study examining a Grateful Dead cover band named Uncle John's Band that performs at Skipper's Smokehouse in Tampa, FL. Using an ethnographic methodology, the project articulates the dominant discursive power relationships that constitute Uncle John's Band's improvisational performances. The dominant discursive power relationships revolve around the lived philosophies and performance style of the Grateful Dead as embodied and communicated through performance by the members of Uncle John's Band. Dominant discursive power relationships also form among audience members as well as the staff at Skipper's Smokehouse. All of these power relationships constitute the performance of improvisational music. In a reflexive turn, the project also offers a re-articulation of ethnography through the tenets of improvisation. Finally, the project presents conclusions concerning the nature of researching improvisational music performance and some future directions for this study.

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Goren, Laurie. « A meta-analysis of nonpharmacologic psychotherapies for music performance anxiety ». Thesis, California Institute of Integral Studies, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621049.

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Music performance anxiety (MPA) is a common problem in musicians of all ages, genders, socio-economic backgrounds, and levels of performance experience. The intensity of symptoms associated with the condition range from mild to debilitating. Even at lower levels, chronic MPA is associated with stress-related illnesses and maladaptive coping behaviors, such as self-medication with licit (cigarettes and alcohol) and illicit or off-label drugs. Acute MPA is known to destroy musical careers.

Faced with the pervasiveness and potential gravity of MPA, clinicians have developed a number of nonpharmacologic treatment protocols, some of which have been studied for efficacy. Most of the outcome studies have reported pairwise comparisons (experimental versus control) of measures taken of small samples of performing musicians. The robustness of the treatment was determined by tests of statistical significance of observed differences on outcome measures or by the calculation of effect size.

Previous narrative reviews of outcome studies have provided summary descriptions of their characteristics and findings. However, these analyses do not provide quantitative evidence of the efficacy of different treatments for ameliorating MPA.

Since it was first employed in psychological research by Smith and Glass in 1977, meta-analysis has become the gold standard for synthesizing quantitative research findings across studies. The method involves integration of standardized treatment effect estimates from different studies. It can provide comparisons of the effectiveness of subgroups of therapies (approaches), characterize a therapeutic approach in terms of an outcome profile, and determine whether a particular psychotherapeutic intervention is effective. The present review is the first to use meta-analysis to integrate the findings of research studies in the literature on nonpharmacologic psychotherapies for MPA and to compare their effectiveness.

An exhaustive search of the literature identified 46 efficacy studies. Of these, 29 met the criteria for inclusion in the meta-analysis. The accumulated data represents autonomic, self-report, and observational measures of MPA for 852 advanced music students and professional musicians. Each measure was coded for type (autonomic, self-report or observational) and for therapeutic approach (cognitive, behavioral, complementary and alternative, and combined). Analysis of the synthesized data indicated statistically significant therapeutic effects of each therapeutic approach. Additionally, when the approaches were compared, the class of psychotherapies that was made of combinations of two or more types of interventions (combined) showed the strongest treatment effect.

Among the implications of these findings is the plurality of good choices for an individual suffering with MPA. The development of programs to raise awareness of the prevalence of music performance anxiety and available treatments is recommended. For researchers, greater standardization in methodology and periodic meta-analysis is encouraged.

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Egge, Mark N. « Toward a Method for Performance Analysis of Twentieth-Century Music ». Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1130784707.

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Rutsate, Jerry. « Performance of Mhande song-dance : a contextualized and comparative analysis ». Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.

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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.

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Place, Robert Keith 1957. « Hugo Distler's "Eine deutsche Choralmesse" : A conductor's analysis for performance ». Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282671.

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This study culminated in an analysis of Hugo Distler's Eine deutsche Choralmesse for the following purposes: assisting the conductor to achieve a general understanding of the work, determining appropriate conducting gestures, and promoting a greater exposure of this largely-neglected work. The study begins with a summary of certain historical, biographical and stylistic information pertinent to Distler's work. The political, social and religious climate in Germany during the second quarter of the twentieth century is discussed. Particularly relevant is the National-Socialist attitude toward organized religion, which, among other consequences, involved an attack on the Protestant Church in an attempt at coercive unity under the State. Hugo Distler, possessed of a mild temperament and nervous personality, chose to ignore the unrestrained power and injustice wielded by the Nazi government under which he lived. He was able to continue his life and work because he posed no blatant threat to the regime. Like many notable musicians of the time, Distler's ability to continue his work resulted from his acceptance of the so-called "New Church Music." The author summarizes the tenets of this musical movement as researched and documented by Charles R. Anders in his fine thesis, "Hugo Distler and the New Church Music," and the composer's attraction to neoclassic models is discussed. Of particular relevance to this study is Distler's interest in the tradition of the German Protestant Mass. Hugo Distler's Eine deutsche choralmesse, opus 3, is an historically important composition in that it is one of a few notable works that reestablishes the tradition of the German Protestant Mass following a long period of liturgical and musical decline. The focus of this paper concerns the structure and design of Distler's Mass and each movement is analyzed as to form, texture, dynamics, timbre, harmony, and rhythm. The author then discusses areas that are potentially problematic to the conductor and singers and offers suggestions for their resolution. Since the relevance of this study is performance-related, the actual rehearsal process proved valuable in furthering an assessment of the work and provided the groundwork on which recommendations for problem resolution were based.

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Astorsdotter, Michelle. « The effect of music analysis on vocal performance : An analytical study of two Swedish songs ». Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79218.

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How much do musicians use their music theory knowledge when they perform? This project aims to connect theory and practice by exploring how analysis affects the interpretation of two songs in performance. Are some aspects of music analysis more useful than others when it comes to interpretation and performing? The theoretical method used in the analytical process is foremost inspired by the book The Complete Musician (Laitz 2012). In the research I recorded two songs that set the same poem Flickan kom ifrån sin älsklings möte, both before and after doing a deeper analysis of the songs. Afterward I compared the recordings to examine how the music analysis affect the performance. The interpretation is formed sometime during the process, but when? Do we decide how to interpret the music in the analytical process already, or does it happen while performing?

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Giareta, 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.

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Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-05-28Bitstream added on 2014-06-13T20:56:30Z : No. of bitstreams: 1 giareta_ep_me_ia.pdf: 3969355 bytes, checksum: 5755701543a489848e20bc316e2ecdef (MD5)
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
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

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Fabiani, Marco. « Interactive computer-aided expressive music performance : Analysis, control, modification and synthesis ». Doctoral thesis, KTH, Musikakustik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34099.

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This thesis describes the design and implementation process of two applications (PerMORFer and MoodifierLive) for the interactive manipulation of music performance. Such applications aim at closing the gap between the musicians, who play the music, and the listeners, who passively listen to it. The goal was to create computer programs that allow the user to actively control how the music is performed. This is achieved by modifying such parameters as tempo, dynamics, and articulation, much like a musician does when playing an instrument. An overview of similar systems and the problems related to their development is given in the first of the included papers. Four requirements were defined for the applications: (1) to produce a natural, high quality sound; (2) to allow for realistic modifications of the performance parameters; (3) to be easy to control, even for non-musicians; (4) to be portable. Although there are many similarities between PerMORFer and MoodifierLive, the two applications fulfill different requirements. The first two were addressed in PerMORFer, with which the user can manipulate pre-recorded audio performance. The last two were addressed in MoodifierLive, a mobile phone application for gesture-based control of a MIDI score file. The tone-by tone modifications in both applications are based on the KTH rule system for music performance. The included papers describe studies, methods, and algorithms used in the development of the two applications. Audio recordings of real performance have been used in PerMORFer toachieve a natural sound. The tone-by-tone manipulations defined by the KTH rules first require an analysis of the original performance to separate the tones and estimate their parameters (IOI, duration, dynamics). Available methods were combined with novel solutions, such as an approach to the separation of two overlapping sinusoidal components. On the topic of performance analysis, ad-hoc algorithms were also developed to analyze DJ scratching recordings. A particularly complex problem is the estimation of a tone’s dynamic level. A study was conducted to identify the perceptual cues that listeners use to determinethe dynamics of a tone. The results showed that timbre is as important as loudness. These findings were applied in a partly unsuccessful attempt to estimate dynamics from spectral features. The manipulation of tempo is a relatively simple problem, as is that of articulation (i.e. legato-staccato) as long as the tone can be separated. The modification of dynamics on the other hand is more difficult, as was its estimation. Following the findings of the previously mentioned perceptual study, a method to modify both loudness and timbre using a database of spectral models was implemented. MoodifierLive was used to experiment with performance control interfaces. In particular, the mobile phone’s built-in accelerometer was used to track, analyze, and interpret the movements of the user. Expressive gestures were then mapped to corresponding expressive music performances. Evaluation showed that modes based on natural gestures were easier to use than those created witha top-down approach.
QC 20110607

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Pinto, 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.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.
Arnold 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.

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Kim, Youmee. « An analysis and performance guide to Benjamin Lees's Odyssey I and II ». Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199061624.

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Barton, Laura H. « Richard Strauss and Metamorphosen - Analysis of performance from the perspectives of violinist and conductor ». Thesis, Griffith University, 2020. http://hdl.handle.net/10072/397644.

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This research project examines the processes of performance, and compares the experiences from two points of view – those of conductor and violinist. One has more complete control over the interpretation and direction of the ensemble, while the other, in a chamber music context, is more collaborative. The project focusses on Richard Strauss’s work Metamorphosen (1945), a work that exists in two different, equally accepted versions. The first is Strauss’s own writing, subtitled a Study for 23 Solo Strings; and the second is a 1994 realisation by Rudolph Leopold of Strauss’s original short score, for string septet. I am in a unique position, having studied both violin and orchestral conducting to a post-graduate level, to explore this work from the two perspectives. Over the course of my research, I rehearsed and performed the two versions of Metamorphosen with my colleagues at the Australian National Academy of Music, alongside auxiliary works. These were the second movement, Marche funebre, from Beethoven’s Symphony no. 3 in Eb major ‘Eroica’, and Strauss’s Sonata for Violin and Piano in Eb major. As a piece of artistic research, the recordings of my performances of these works represent core components of this submission. This supporting exegesis focusses largely on the processes of rehearsing and performing the works from the perspectives of both violinist and conductor, and how these compared. It also contains background information on the compositional history of Metamorphosen, as well as aural analyses of two notable recordings conducted by Wilhelm Furtwängler and Simone Young. I have also included supplementary material, which consists of the programme notes I have written for my performances along with extra details; copies of my personal scores of each work; and a list of all sources that I have referred to in preparation for this project.
Thesis (Masters)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Jackson, Nicholas Allen. « The Creation, Performance, and Preservation of Acousmatic Music ». The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619144438948909.

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Ishihama, Kanako. « Triangles of Soul—Schubert the “Wanderer” and His Music Explained by Neo-Riemannian Graphs ». Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23148.

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In Schubert’s music, the theme “wandering” is used frequently, closely related to human life and death. I presume that, being stricken by serious illness and facing challenging relationships, Schubert lived his short life with agony and dismay, confronting the life theme “death.” In that sense, Schubert himself was probably the wanderer who kept trudging throughout his life journey. In 1822, Schubert composed the allegorical tale “My Dream,” and in that tale, he writes as follows; “when I attempted to sing of love, it turned to pain. And again, when I tried to sing of pain, it turned to love. Thus were love and pain divided in me” (Deutsch 1977, 227). Schubert lived his life, struggling between love and pain, and between life and death. Human life and death conflict with each other, but exist together in the same place. In other words, death is a root of life. If one can perceive that life and death both exist at the root of one’s life, the form of life should be represented by a circular path, not by a linear formation. This notion accords with Schubert’s musical style, where the same material comes back again and again in a circular formation. I assume that the notion—death as a root of life—is the essential conception of “wandering” that Schubert’s music expresses. In this dissertation, I would like to offer several Neo-Riemannian analyses and graphs of Schubert’s piano compositions; Impromptus D. 899, Moments Musical D. 780, Sonata in C-minor D. 958, and the “Wanderer” Fantasy D. 760. For each work and movement, I will map out the harmonic structure and key progressions on a Tonnetz graph, and suggest a new way to comprehend the nature of “wandering” that Schubert’s music portrays. Through the configurations and harmonic motions on the Tonnetz graphs, I will establish a way to comprehend Schubert’s concept of circular “wandering” visually and geometrically.

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Fairley, Jan. « Karaxu the music of the Chilean resistance : an analysis of composition and performance / ». Online version, 1987. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.379358.

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Rubio, Carrion Maria. « Performance and analysis of Brahms quintet op. 115 for clarinet and string quartet : Searching for a deeper interpretation ». Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4156.

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In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed. From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece. After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.

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Frizzell, John David. « A CONDUCTOR’S ANALYSIS OF VELJO TORMIS’ LOODUSPILDID ». UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/93.

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Estonian composer Veljo Tormis (1930-2017) is one of the most prolific in his country’s history. A significant portion of his writing has been for choirs. Tormis composed most of his works under Soviet rule. During this communist reign of Estonia, Tormis turned to using traditional music. The source material for a large portion of Tormis’ choral output is regilaul, a type of ancient Estonian folk song. In 1991, Estonia gained their independence, thereby allowing Tormis’ compositions to be more easily seen, heard, and performed around the world. This dissertation presents a conductor’s analysis of a set of choral cycles composed by Tormis between 1964 and 1969, Looduspildid, or Nature Pictures. A set of cycles representing all of the seasons and incorporating prominent Estonian poetry, Loodispuldid represents one of Tormis’ most important works. It illustrates Tormis’ maturing style as he utilized a variety of 20th Century techniques like extended tertian harmonies, modal scales, pandiatonicism, clusters, and mixed meters. Tormis also employs his own orchestrally-derived techniques of carefully constructed simultaneous articulations along with cumulative chording. Each cycle contains its own unique style and feel. Sügismaastikud is perhaps the most tonal of the four. Most movements are pandiatonic and one uses the whole tone scale. On a macro level, Sügismaastikud moves from soft in the earlier movements to a fff climax on the final chord of the last movement. Talvemustrid also begins at a very soft dynamic level on a unison D4, grows to multiple ff dynamics throughout, and ends back at a soft dynamic on Db. The cycle is more harmonically adventurous than Sügismaastikud, with consistent chromaticism, octatonic scale, and marked dissonance. Suvenmotiivid only contains three movements, but continues the harmonic and rhythmic complexity of Sügismaastikud. The first movement, Põualim, immediately begins on a tritone with octatonic scale. Different meters occur simultaneously during the second movement, which also moves quickly through 4 keys. The final movement ends with orchestral voicing and a 10-note chord cluster. Kevadkillud contains six very short movements, most of which are pandiatonic like Sügismaastikud. There is far less chromaticism and harmonic complexity than the middle two cycles, almost as if Tormis is bringing the set full circle. Moreover, the final movement of this cycle (and the entire set) is really just one major chord with embellishments. As a set, Loodispuldid represents a thorough perspective of Tormis’ mature style. The analyses done as a part of this paper reveal an incredible efficiency in his writing. Motives have purpose and context. Each movement possesses a well-defined harmonic language and rhythmic identity. A variety of formal structures exist, from binary to rondo. Even the many through-composed movements are expertly crafted with clear direction.

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Kosta, Katerina. « Computational modelling and quantitative analysis of dynamics in performed music ». Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30712.

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Musical dynamics- loudness and changes in loudness - forms one of the key aspects of expressive music performance. Surprisingly this rather important research area has received little attention. A reason is the fact that while the concept of dynamics is related to signal amplitude, which is a low-level feature, the process of deriving perceived loudness from the signal is far from straightforward. This thesis advances the state of the art in the analysis of perceived loudness by modelling dynamic variations in expressive music performance and by studying the relation between dynamics in piano recordings and markings in the score. In particular, we show that dynamic changes: a) depend on the evolution of the performance and the local context of the piece; b) correspond to important score markings and music structures; and, c) can reflect wide divergences in performers' expressive strategies within and across pieces. In a preparatory stage, dynamic changes are obtained by linking existing music audio and score databases. All studies in this thesis are based on loudness levels extracted from 2000 recordings of 44 Mazurkas by Frederic Chopin. We propose a new method for efficiently aligning and annotating the data in score beat time representation, based on dynamic time warping applied to chroma features. Using the score-aligned recordings, we examine the relationship between loudness values and dynamic level categories. The research can be broadly categorised into two parts. The first investigates how dynamic markings map to performed loudness levels. Empirical results show that different dynamic markings do not correspond to fixed loudness thresholds. Rather, the important factors are the relative loudness of neighbouring markings, the inter-relations of nearby markings and other score information, the structural location of the markings, and the creative license exercised by the performer in inserting further interpretive dynamic shaping. The second part seeks to determine how changes in loudness levels map to score features using statistical change-point techniques. The results show that significant dynamic score markings do indeed correspond to change points. Furthermore, evidence suggests that change points in score positions without dynamic markings highlight structurally salient events or events based on temporal changes. In a separate bidirectional study, we investigate the relationship between dynamic mark- ings in the score and performed loudness using machine learning techniques. The techniques are applied to the prediction of loudness levels corresponding to dynamic markings, and to the classification of dynamic markings given loudness values. The results show that loudness values and markings can be predicted relatively well when trained across recordings of the same piece, but fail dismally when trained across a pianist's recordings of other pieces. The findings demonstrate that score features may trump individual style when modelling loudness choices. The analysis of the results reveal that form|such as the return of the theme - and structure - such as repetitions -influence predictability of loudness and markings. This research is a first step towards automatic audio-to-score transcription of dynamic markings. This insight will serve as a tool for expression synthesis and musicological studies.

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Marcus, Naomi Joy. « Four Works for Solo Timpani : An Analysis and Performance Guide ». The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1457612668.

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Townsend, Jacqueline K. « A Comparative Performance Analysis of “Undertow” and “Xerxes” by John Mackey ». Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1299249300.

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Moore, José Leonardi. « An Analysis and Performance Editions of Five Puerto Rican Danzas for String Quartet ». Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594371.

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This document examines the history and characteristics of the danza in Puerto Rico, offering a brief historical description from its evolution in the mid-nineteenth century to the present day. This document also outlines the form of this genre to educate the reader on the different elements and sections included in these pieces. Five works from this genre are included, and newly edited versions are provided with fingering, bowing, and articulation suggestions. These works are intended for intermediate and advanced string players. The Royal Conservatory of Music's grade-by-grade rubric is used to classify these pieces by level. Two of these danzas are classified as Intermediate and three are classified as Advanced, based on the techniques required to play these pieces. Information about some of the most important chamber music ensembles in Puerto Rico, and a brief explanation of rhythm and performance approach, are included to offer a better idea of how to perform these pieces. The "elasticity of triplets," which is the basic rhythmic figure used in these danzas, is explained in detail to help the string players understand the performance practice used while performing these pieces. An entire section is dedicated to the composers and arrangers, with biographical information, as well as information about their compositions. A detailed explanation of suggested fingerings, bowings, and articulations is provided. Original parts and new, digitized versions of these arrangements are also included. The result of this research shows that these pieces are a valuable addition to the string quartet repertoire. The appealing melodies, in conjunction with the technical challenges, will help students achieve a great level of performance without exceeding their technical abilities.

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Rush, Matthew E. « An Analysis and Performance Guide for Anna Thorvaldsdottir's Aura for Three or Four Percussionists ». Thesis, The University of Nebraska - Lincoln, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10846156.

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This doctoral document and accompanying lecture recital seek to illuminate and bring clarity to aura (2011) for three percussionists and AURA (2015) for four percussionists by Icelandic composer Anna Thorvaldsdóttir. This composition is examined through a thorough musical and formal analysis to show that there is a guiding force to be found behind the sustained drones and complex bell themes of the piece. A performance guide to reduce the composition’s logistical and musical challenges is included in the hopes that it will shorten the learning curve for a new ensemble as they learn the piece. It is this author’s aim that this resource will make this composition accessible to a wider range of ensembles and thereby bring more exposure to the music of Anna Thorvaldsdóttir.

In addition, biographical information and a survey of the composer’s compositional process and style is included to increase the limited amount of scholarly research that currently exists on Dr. Thorvaldsdóttir and her works.

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Yang, Luwei. « Computational modelling and analysis of vibrato and portamento in expressive music performance ». Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24857.

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Vibrato and portamento constitute two expressive devices involving continuous pitch modulation and is widely employed in string, voice, wind music instrument performance. Automatic extraction and analysis of such expressive features form some of the most important aspects of music performance research and represents an under-explored area in music information retrieval. This thesis aims to provide computational and scalable solutions for the automatic extraction and analysis of performed vibratos and portamenti. Applications of the technologies include music learning, musicological analysis, music information retrieval (summarisation, similarity assessment), and music expression synthesis. To automatically detect vibratos and estimate their parameters, we propose a novel method based on the Filter Diagonalisation Method (FDM). The FDM remains robust over short time frames, allowing frame sizes to be set at values small enough to accurately identify local vibrato characteristics and pinpoint vibrato boundaries. For the determining of vibrato presence, we test two alternate decision mechanisms-the Decision Tree and Bayes' Rule. The FDM systems are compared to state-of-the-art techniques and obtains the best results. The FDM's vibrato rate accuracies are above 92.5%, and the vibrato extent accuracies are about 85%. We use the Hidden Markov Model (HMM) with Gaussian Mixture Model (GMM) to detect portamento existence. Upon extracting the portamenti, we propose a Logistic Model for describing portamento parameters. The Logistic Model has the lowest root mean squared error and the highest adjusted Rsquared value comparing to regression models employing Polynomial and Gaussian functions, and the Fourier Series. The vibrato and portamento detection and analysis methods are implemented in AVA, an interactive tool for automated detection, analysis, and visualisation of vibrato and portamento. Using the system, we perform crosscultural analyses of vibrato and portamento differences between erhu and violin performance styles, and between typical male or female roles in Beijing opera singing.

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Sandoval-Cisternas, Enrique. « A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA : COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY ». UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/120.

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Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios's works have proliferated, many of these transcriptions of the composer's own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios's works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century--the timeframe in which Barrios was in contact with this genre--to Barrios's Cueca. Second, it proposes a critical/performance edition of Barrios's work taking into account both the performance practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer's own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.

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Li, Zhi. « How a Schenkerian Analysis May Inform the Interpretation and Performance of J. S. Bach's Lute Music on the Guitar Using Selective Movements of Bach Lute Suite No. 4 in E Major (BWV1006A) as a Demonstration ». Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752403/.

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Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.

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Perez, Francisco S. « AN ANALYSIS AND PERFORMANCE GUIDE OF STEVE REICH’S MALLET QUARTET ». UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/109.

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Steve Reich’s music has had a profound effect on the contemporary percussionist’s repertoire. More recently, his Mallet Quartet (2009) has been one of the most performed works in the rising genre of mallet-keyboard quartets, which was featured in Third Coast Percussion’s 2017 Grammy-winning album Third Coast Percussion | Steve Reich. With Mallet Quartet, Reich codified this type of ensemble into the contemporary repertoire of percussion as evidenced through current commissions in progress by groups such as Sō Percussion and Third Coast Percussion. The purpose of this document is to delineate the trajectory (past and present) of the mallet-keyboard quartet and highlight the most important compositional characteristics found within Mallet Quartet. These characteristics include the use of canonical augmentations, large-scale tonal shifts, rhythmic modification, and developing variation. After this analysis, this dissertation provides a performance guide to Mallet Quartet which specifically address the practicalities necessary for a successful performance. Topics such as the setup of instruments, mallet considerations, approaches to challenges in part-reading, and common ensemble issues are discussed.

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Ai, Chia-Huei. « Chopin's Concerto in E minor, op. 11 : an analysis for performance / ». The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265555439094.

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Simon, Karem Joseph. « Historical and performance perspectives of clarinet material performed in a thesis recital ». Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26038.

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This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture in a more detailed and extensive account. A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2. Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works. Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A. Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice. Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression.
Arts, Faculty of
Music, School of
Graduate

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Mitchell, David J. « A Performance Guide and Analysis of Compositional Techniques in Selected Percussion Music of Dave Maric ». Thesis, The University of North Carolina at Greensboro, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10639934.

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The aim of this study is to provide insight into the percussion music of Dave Maric through an analysis of a trilogy of pieces with backing track, Trilogy (2000), Sense & Innocence (2002/2014), and Thrice Into Flames (2017). The present study examines Maric’s influences, analyzes his compositional style, and provides a performance guide. Brief biographical information is provided to introduce Maric. His compositional style is examined by analyzing tonal language and formal structures. The tonal language of these pieces combines octatonic scales and diatonic scales. In terms of form, Maric uses mathematical sequences to determine proportions between sections, including the Fibonacci sequence. The performance guide includes sticking suggestions, transcriptions of backing track cues, and additional comments.

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Ramos, De Souza Marcelo. « Symphony No. 2 "Brasilia" by Cesar Guerra-Peixe| An analysis and a performance edition ». Thesis, Ball State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3667839.

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This study analyzes the context of the composition of Symphony No. 2 "Brasília" by Brazilian composer César Guerra-Peixe (1914-1993), reporting the experience of producing performance material for a symphony orchestra and offering a complete musical analysis of the piece. The study traces the development of Brazilian classical music since 1808 until approximately 1945, highlighting the search for a national musical identity in Brazil.

Guerra-Peixe composed Symphony No. 2 "Brasília" for a composition competition in 1960 in honor of the inauguration of Brazil's newly built capitol, Brasília. There was no first prize, and the piece was awarded the second prize tied with two more works. Guerra-Peixe based substantial parts of his work on music from northeastern Brazil, where modalism dominates the harmony in its multiple variations.

The "Brasília" symphony became one the most important works of the nationalism in Brazil. It includes a four-movement structure in a programmatic fashion: the saga of immigrants from northeastern Brazil moving to the central region of the country to build Brasília, the new capitol, from scratch. The symphony is scored for a symphony orchestra with woodwinds in pairs plus piccolo, 4 horns, 3 trumpets, 3 trombones, tuba, celeste, percussion (timpani, bass drum, cymbals, tambourine, triangle, and snare drum), strings, a narrator, and mixed chorus. The revised score and parts, created as part of this dissertation project, are available for rent through the holder of Guerra-Peixe's copyrights, Jane Guerra-Peixe.

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Teng, Chi-Chuan. « \"Xianshi,\" the Viola Concerto by Yi Chen : general analysis and issues of performance interpretation / ». The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978856.

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Wuestemann, Gerd 1967. « Luciano Berio's "Sequenza XI chitarra sola" : A performer's practical analysis with performance edited score ». Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282623.

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The Sequenza XI per chitarra sola is a recent work of great significance for the guitar repertoire. Written by one of the most accomplished living composers, the Sequenza XI is also part of a series of works that demonstrates the state of instrumental composing in the 20th century. This study examines elements of the composition in regard to their significance for the performer. It also discusses problems in the execution of the piece and attempts to outline ways in which to overcome these problems. After discussing possible revisions with the composer, the author has included an edited version of the score as part of this study. The Sequenza XI is clearly linked to other works in the series of Sequenzas through their common concept of integrated development. Berio's musical language often includes a very personal approach to tonality as well as a preference for meaningful virtuosity. A particularly effective compositional technique in the Sequenza XI is Berio's layering of sounds. The composer has a unique and individual understanding of lyricism in music that determines musical material and shapes structures. It is this lyricism that is often difficult to understand. Finally, the Sequenza XI was written as a challenge to the technical possibilities of the guitar. Furthermore, it was co-commissioned and written for Eliot Fisk, a performer with unusual physical and technical ability. For that reason, I have created the attached critical edition of the score of the Sequenza XI, making the work more approachable for the majority of guitarists.

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Hinners, Sunghee Lee. « Fauré's piano quartet in C minor, op. 15 : analysis and performance guide for pianists ». Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2518.

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Miller, Samuel James. « AN ANALYSIS AND CONDUCTOR’S GUIDE TO ZDENĚK LUKÁŠ’ REQUIEM PER CORO MISTO, OP. 252 ». UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/114.

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Zdeněk Lukáš (1928-2007) was one of the most prolific Czech composers of the 20th century having composed over 300 pieces. His works include a wide array of genres including symphonies, operas, chamber music, and a large amount of choral and vocal music. He was influenced by Czech folklore and music and was self-taught until he was nearly 40 years old. Lukáš began his career as a teacher but later began working for the Czechoslovak Radio Studio in Plzeň where he founded the mixed choir, Česká Píseň (Czech Song), which became quite famous and still enjoys great fame. Requiem per coro misto, op. 252 is considered by many to be Lukáš’s most famous choral work. It was written in 1992 for a cappella SSATB chorus. The piece is divided into seven movements; “Requiem aeternam,” “Dies irae,” “Lacrymosa,” “Offertorium,” “Hostias,” “Sanctus,” and “Agnus Dei.” This document presents an analysis and conductor’s guide of Requiem. The analysis includes an examination of Latin pronunciation employing Germanic Latin when possible and an IPA pronunciation guide and translation of the text. Also included in the analysis is discussion on form, tonality, and development of melody, harmony, and rhythm all of which reveal that Lukáš wrote this piece in a very traditional style. The conductor’s guide points out many of the issues that a choir may face in preparing Requiem. Some of the issues include intonation, range, and dynamics. One specific issue is that although the piece is tonal, there is considerable use of modes and scales that many singers would consider exotic. One such scale is the Hungarian Gypsy which is essentially a harmonic minor scale, but includes a raised fourth degree. Many of the intonation issues that could arise stem from the frequent parallel motion. Lukáš believed that a cappella singing is one of the purest forms of music and that singers should be allowed to sing without regard to any instrumental influence whether it be from the composer or some other source. Requiem exhibits this belief through its challenges and its beauty. The work or its individual movements can be challenging yet accessible to singers of all levels.

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Yeh, Gloria Nye-Gin. « Beethoven's Piano Concerto in C Major, opus 15 : structural analysis and performance strategies / ». The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335548904.

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Jürgensen, Frauke. « Accidentals in the mid-fifteenth century : a computer-aided study of the Buxheim organ book and its concordances ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85921.

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The Buxheim Organ Book, the largest fifteenth-century manuscript of keyboard tablature, has never before been examined as a whole in light of musica ficta issues, although it contains far more accidentals than any contemporaneous source in mensural notation. Although tablature has been used by various scholars to examine accidentals in sixteenth-century music, studies of fifteenth-century accidentals have focussed on theoretical evidence and small groups of pieces from mensural sources. The author uses the Buxheim Organ Book to extend the investigations of accidentals in tablature back into the fifteenth century, combining the large data set provided by this manuscript with a statistical approach modelled on that of Thomas Brothers's smaller-scale study of the chansons of Binchois. Specialised computer programs are introduced, which detect musical structures relevant to the analysis of Renaissance music such as different types of cadential voice leading. These programs function as extensions to David Huron's Humdrum Toolkit. With these tools, signing practises in the intabulations are statistically compared with all of the concordances of the models. Conclusions are suggested pertaining to issues of signature accidental transmission, partial signatures, mode, and musica ficta, which can be used as a contextual backdrop for the analysis of individual pieces. The evidence provided by the accidentals in Buxheim and its concordances draws a clear picture of how a group of fifteenth-century musicians added accidentals to polyphonic music. For the first time, this study provides us with principles and guidelines for musica ficta -decisions based on actual practice.

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Hawley, Laura. « Jazz improvisation, analysis, and interpretation : Three performances of "Honeysuckle Rose" by Ella Fitzgerald ». Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27520.

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This thesis develops a framework for analyzing melodic improvisation on a jazz standard in order to explore how the improvisation relates to the original melody and harmony of the song. Using three recorded performances of "Honeysuckle Rose" by Ella Fitzgerald, the analytic method reveals the complex web of melodic and harmonic relationships in her improvisational style and musical craft. The first chapter outlines important terminology and addresses the use of transcription as a tool for analyzing recorded performance. The second chapter explores current practices in jazz analysis and discusses strategies for jazz improvisation. Drawing on the work of prominent jazz analysts (Larson, Kernfeld, Hodson) these chapters lead to the formulation of a three-stage model for analyzing melodic jazz improvisation. The third and fourth chapters present an analysis of Thomas "Fats" Waller's "Honeysuckle Rose," comparing analytic information gleaned from performance transcriptions and the lead-sheet. This analysis illustrates the utility of a model that allows the analyst to simultaneously consider aspects of form, melody, and harmony.

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Davies, Glynis L. « An analysis of Pat Metheny's and Lyle Mays's "Third Wind"| Arranging techniques and performance considerations ». Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587274.

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This paper explores the arranging techniques and performance considerations related to the transcription and analysis of "Third Wind" by Pat Metheny and Lyle Mays; it compares Metheny and Mays' original piece to the author's arrangement as performed at her Master's Recital. Biographical information about Metheny and Mays are used as a preface to their lives as composers and performers. Also included is an in-depth analysis of the original lead sheet, the author's arrangement, and the performance itself. The incorporation of wordless vocals, as used in the original, is also covered. The author wrote original lyrics for parts of the song that help to clarify her interpretation of this lengthy through-composed piece of music.

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Thèses sur le sujet « Music performance analysi »

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