Tesi: "Tchaikovsky"

1

Dyachkova, Yelena. "Piotr Tchaikovsky and the Bible". Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 77-84, 1999. https://ul.qucosa.de/id/qucosa%3A15625.

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Biblical mythology as a possible programme for a musical work never attracted Tchaikovsky''s interest. Epistolary heritage also does not give the reason to suppose that the Bible was the composer''s favourite book. Nevertheless, these superficially obvious facts do not settle the question about Tchaikovsky and the Bible.

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2

Dyachkova, Yelena. "Piotr Tchaikovsky and the Bible". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-224596.

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Abstract (sommario):

Biblical mythology as a possible programme for a musical work never attracted Tchaikovsky's interest. Epistolary heritage also does not give the reason to suppose that the Bible was the composer's favourite book. Nevertheless, these superficially obvious facts do not settle the question about Tchaikovsky and the Bible.

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3

Koch, Marelize. "‘n Pedagogiese analise van Tchaikovsky se Jeugalbum Op. 39". Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65564.

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The primary focus of this particular study will be the psychology behind the development of the early pianist as well as appropriate repertoire for pianists in this primary phase. The writer will focus on the beginner pianist from the age of six to eleven. The primary phase of development is arguably the most important hence the basis it provides. Technical skills, critical listening skills and musicality have to be developed during this phase. The 19th century Russian composer Pyotr llyich Tchaikovsky’s Album for the Young, op. 39 is recognised as appropriate material for children in this primary phase of development. In this study, a background of the pieces will be provided and special attention will be given to technical difficulties of each individual piece. The criteria will be categorised into technical and musical abilities. These abilities will meet the student’s level of development and will ensure technical and musical development. In order to assist the piano teacher during the teaching of these pieces, supporting material such as teaching strategies, fingering suggestions, musical and technical suggestions will be provided. To enhance the quality of teaching the study will provide pedagogical and practical suggestions to help with any potential problems. In essence this study can be used as a guideline for piano teachers who would like to use the Album for the Young, op. 39 as part of their teaching repertoire.
Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
Unrestricted

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4

Leaman, Kara Yoo. "Analyzing Music and Dance| Balanchine's Choreography to Tchaikovsky and the Choreomusical Score". Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10584953.

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George Balanchine was one of the most prolific and influential choreographers of the twentieth century. He was also a skilled musician, trained at the St. Petersburg Conservatory. His ballets have been celebrated for their musicality by prominent dancers and musicians alike. However, the concept of choreographic musicality, and the means by which it is achieved in his ballets, has remained largely elusive. This dissertation analyzes two works that Balanchine set to music by Pyotr I. Tchaikovsky: Tschaikovsky Pas de Deux (1960), set to an interpolation in Swan Lake (1877), and Theme and Variations (1947), set to the fourth movement of the Third Orchestral Suite (1884). The analyses combine perspectives from traditional music analysis, dance transcription, and digital video annotation. The methodology takes advantage of Balanchine's strong musical literacy to examine, first, the musical scores, as he did, and then his choreographies in relation to the scores. The analyses connect elements of his choreography directly to their probable sources in the music, and they show that Balanchine was guided by discernible priorities in setting dance to music: that dance and music reflect a partnership rather than dominance by one party; that dancers move with unreserved energy, reflected in steps that cross musical boundaries or anticipate musical ideas; and that dance establish a strong relationship with its music before it is free to conflict with it. Balanchine's choreomusical style encompasses many different types of relationships between music and dance, and he achieved what may be described as musical artistry by a variety of choreographic techniques. The analyses in this study offer a detailed view of important aspects of Balanchine's multifaceted choreomusical style.

To examine Balanchine's choreography, this dissertation presents a method for transcribing dance in a music-based notation system that prioritizes the representation of pitch with rhythm. It introduces a new "choreomusical notation" that maps "choreographic pitch" (or, spatial height) onto the vertical axis and "choreographic rhythm" onto the horizontal axis of a musical staff. Using this notation, visual representations of dance and music are aligned in a "choreomusical score," and analytic paradigms developed in music theory are applied to works of dance with music. Unlike most other systems of dance notation, this choreomusical notation is not intended to capture choreography in a comprehensive way; rather, it is designed to distill some of the most musically salient elements of a dance into notation for the purpose of intermedia analysis. Compared with other choreomusical analyses that use dance notations, this dissertation brings Balanchine's ballets and their musical scores into closer visual and cognitive proximity. This choreomusical notation can also be adapted to reflect musically salient aspects of other dance styles. Sample analyses showing extended applications, with excerpts from minuet, Bulgarian folk dancing, cartoon, and rave dancing, are included in the final chapter.

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5

Lin, Louise Jiayin. "Sergei Tanayev (1856-1915) an analysis of his Piano concerto in E-flat major and its relationship toTchaikovsky's Piano concerto no. 1 /". Lecture recital, recorded Dec. 1, 2006, in digital collections. Access restricted to the University of North Texas campus connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3648.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2000, June 24, 2002, Jan. 24, 2005, and Dec. 1, 2006. Includes bibliographical references (p. 37-38).

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6

Boeskool, Breighan M. "Harmonic Refraction, Structural Thresholds, and the Chromatic Prism: A Neo-Riemannian Transformational and Geometrical Approach to the Music of Pyotr Ilyich Tchaikovsky". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134139003178.

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7

Dyachkova, Yelena. "Tchaikovsky’s Liturgy as a directive for the world-outlook of the Russian intelligentsia". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219054.

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8

Spriggs, Olga A. "A Choral Conductor’s Guide to Pyotr Ilyich Tchaikovsky’s “Moscow” Coronation Cantata". University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439307279.

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9

Hao, Chenyang. "A Pedagogical Guide for Tchaikovsky's Ablum for the Young, Op. 39". OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1823.

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This document is a pedagogical guide for Tchaikovsky’s Album for the Young, Op. 39, which is regarded as valid pedagogical material for teachers interested in incorporating this repertoire into their studios. This document contains brief bibliographical information of Peter Ilyich Tchaikovsky and a concise background of Album for the Young, Op. 39, and then presents a comprehensive pedagogical analysis of each piece, which includes teaching methods, technical approaches and practice suggestions. In addition, this document assigns a level for each piece of this collection. Tchaikovsky’s Album for the Young, Op. 39 may be employed by teachers for elementary and intermediate students. This pedagogical guide is written as a reference for the teachers who will enable students to better understand Tchaikovsky’s piano music. Studying this repertoire allows students to be better prepared to study Tchaikovsky’s other more advanced works.

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10

Alexander, David Robert 1955. "Tchaikovsky's "Third Symphony": An analysis of its form, harmony, and style". Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/291559.

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Little has been written about Tchaikovsky's Third Symphony, and it is rarely performed. Many of the compositional techniques used in this symphony were also used in Tchaikovsky's later symphonies; in some regards, however, the Third Symphony is atypical (if not unique) in relation to his other symphonies: It contains five movements, its tonic key is major, and it is not programmatic. This thesis presents a comprehensive analysis of the symphony as it unfolds, and this is illustrated with musical examples and analytical figures. An analysis chart of each movement (detailing form and key) is given. Each movement is summarized in terms of sonorities, tonalities, and methods of modulation, thereby providing some insights into the consistency/variety of Tchaikovsky's compositional language in this symphony. It is hoped that this analysis will help to generate interest in this important Tchaikovsky symphony that has, to date, attracted little attention.

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11

Pettersen, Watten Elise. "Hva kan bakgrunnskunnskap om komponisten gjøre med en musikalsk tolkning? : En studie av Tsjajkovskij og to av hans verker". Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-79151.

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Jeg har i denne bacheloroppgaven valgt å fordype meg i den russiske komponisten Pjotr Iljitsj Tsjajkovskijs liv og virke, hans kulturelle bakgrunn og den musikkhistoriske epoken han levde i. Jeg valgte to av hans verker, hans "Romanse nr. 6 op. 6 Nur wer die Sehnsucht kennt" og "Souvenir de Florence op 70." Målet var å finne ut om musikalske tolkning ville endres etter en inngående studie i komponistens liv. Som et resultat av studien så jeg på verkene i et annet lys, og jeg spilte dem også annerledes. Dypdykket gjorde at jeg innlemmet flere nye konkrete elementer i min tolkning. Jeg tror også jeg har funnet metoder for å gjøre slik bakgrunnskunnskap om til noe "musikalsk klingende".
This bachelor thesis aims at giving me a deepened awareness in the interpretation of the music of P. I Tchaikovsky (1840-1893), with his cultural background and the music his- torical epoch in which he lived. I have focused on two of his works: “Nur wer die Sehnsucht kennt op. 6” and ”Souvenir de Florence, op 70”. My main goal was to see if div- ing more deeply into Tchaikovsky`s life and history would have an impact on my musical interpretation. As a result of this study, I made several changes in my interpretation. I also see both the composer and his musical works in a different light. As a bonus, I found some methods to use when transferring this kind of background knowledge into “sound- ing music”.

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12

Santos, Sidney Ricardo Gomes dos. "As escolhas interpretativas do maestro na contemporaneidade face a tradição musical: um estudo de caso com a 5ª. Sinfonia de Tchaikovsky". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/7097.

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This article discusses the relation between the orchestral conductor’s performanceand the musical interpretativetraditionshaving as case study the 5th Symphony by PyotrIlych Tchaikovsky. It is fundamented on thinkers as Castagna (2008) on the score editions, Silva & Silva (2009) on tradition in musical performance and Laboisiése (2007) on musical interpretation. As the methodology, it were investigated twelve editions of the score object of this study, twelve representative recordings thereof, among which, renowned conductors such as Claudio Abbado, Bernstein and Karajan, as well as prepared and presented by the author with the Youth Symphony Orchestra of the State of Goiás. The conclusions point that the tradition of musical performance can have a major influence on the conductor in contemporary times and therefore requires a reflection on the break or not paradigms established by the tradition of the art of orchestral conducting in canonical works.
O presente artigo discutea relação entre a performance do maestro na contemporaneidade e as tradições interpretativas musicais tendo como estudo de caso a 5ª. Sinfonia de Tchaikovsky, obra canônica do repertório orquestral. Toma-se como fundamentos teóricos os pensadoresCastagna (2008) sobre as edições de partitura, Silva & Silva (2009) sobre tradição na performance musical e Laboissiére (2007) sobre interpretação musical. Foram investigadasdoze ediçõesda partitura da obra objeto deste estudo, doze gravações representativas da mesma, dentre as quais, de renomados maestros como Claudio Abbado, Bernstein e Karajan, além de preparada e apresentada por esse autor junto à Orquestra Sinfônica Jovem do Estado de Goiás. Constatou-se quea tradição da performance musical pode ter uma grande influência sobre o maestro na contemporaneidade e, portanto, exige-se uma reflexão sobre a quebra ou não de paradigmas estabelecidos pela tradição da arte da regência nas obras canônicas orquestrais.

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13

Grönke, Kadja. "Die Tschaikowsky-Gesellschaft e. V. Tübingen". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219143.

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Aus Anlaß des 100. Todestags von Pëtr Ilʹič Čajkovskij fand Ende Oktober 1993 in Tübingen ein von Konzerten und Ausstellungen begleitetes internationales Symposium statt, auf dem Musikwissenschaftler aus Rußland, Deutschland, Großbritannien, den USA und Japan neueste Forschungsergebnisse über den russischen Komponisten austauschten. In diesem - zunächst sehr kleinen - Kreis war man sich rasch einig, daß in Sachen Čajkovskij Handlungsbedarf bestand und gründete die "Tschaikowsky-Gesellschaft e. V.". Dem mittlerweile von 29 auf 124 Mitglieder angewachsenen Verein geht es um die wissenschaftliche Aufbereitung und intensive Förderung von Čajkovskijs musikalischem und literarischem Nachlaß.

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14

Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16097/1/Vicky_Yang_Thesis.pdf.

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As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original form. With this in mind, it can be argued that piano transcriptions of music originally written for instrumental ensemble is still a viable form of musical expression, because the piano is still the most widely used medium for the performance of art music in the Western world. Transcriptions of instrumental and vocal music expand the listening audience for a composer's music while they also increase the repertoire of music for the piano for both amateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts: 1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis. 2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's The Sleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overview of piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.

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15

Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16097/.

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Abstract (sommario):

As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original form. With this in mind, it can be argued that piano transcriptions of music originally written for instrumental ensemble is still a viable form of musical expression, because the piano is still the most widely used medium for the performance of art music in the Western world. Transcriptions of instrumental and vocal music expand the listening audience for a composer's music while they also increase the repertoire of music for the piano for both amateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts: 1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis. 2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's The Sleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overview of piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.

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16

Doran, Molly Catherine. "The Transformation of Pushkin's Eugene Onegin into Tchaikovsky's Opera". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1338408083.

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17

BROWN, BREIGHAN MOIRA. "“Transforming Chaos”: Modes of Ambiguity in Tchaikovsky’s Symphony No. 5 in E Minor". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187004301.

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18

Liu, Louise Jiayin. "Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovskys Piano Concerto No.1". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3648/.

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This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.

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19

Torpp, Larsson Magnus Theodor. "Prøveteknik : Om dirigents prøveteknik med et orkester og om overgangsfasen fra forberedelse til udøvelse". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3090.

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Strauss, Richard, Don Juan, Op. 20

Sørensen, Bent, Evening Land, 2017

Tchaikovsky, Peter Ilyitch, Symphony No. 4, F minor, Op 36

Dirigent: Magnus Theodor Torpp Larsson

Orkester: Norrköpings Symfoniorkester

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20

Grönke, Kadja. "Die Tschaikowsky-Gesellschaft e. V. Tübingen". Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 237-241, 1997. https://ul.qucosa.de/id/qucosa%3A15330.

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Abstract (sommario):

Aus Anlaß des 100. Todestags von Pëtr Ilʹič Čajkovskij fand Ende Oktober 1993 in Tübingen ein von Konzerten und Ausstellungen begleitetes internationales Symposium statt, auf dem Musikwissenschaftler aus Rußland, Deutschland, Großbritannien, den USA und Japan neueste Forschungsergebnisse über den russischen Komponisten austauschten. In diesem - zunächst sehr kleinen - Kreis war man sich rasch einig, daß in Sachen Čajkovskij Handlungsbedarf bestand und gründete die "Tschaikowsky-Gesellschaft e. V.". Dem mittlerweile von 29 auf 124 Mitglieder angewachsenen Verein geht es um die wissenschaftliche Aufbereitung und intensive Förderung von Čajkovskijs musikalischem und literarischem Nachlaß.

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21

Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.

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22

Cummings, Ronn (Ronn Thomas). "Analysis of the Re-Orchestrations of Robert Schumann's Four Symphonies Employed by Felix Weingartner: With Four Recitals of Selected Works by Schumann, Beethoven, Tchaikovsky, Poulenc, Bizet, Rossini, and Chabrier". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935814/.

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An analysis of re-orchestrations of Robert Schumann's four symphonies employed by conductor Felix Weingartner (1863-1942). The text includes a brief history of Schumann's orchestral writing career and an overview of Weingartner's life as a conductor. The bulk of the dissertation discusses actual changes suggested by Weingartner (with score examples). Patterns of modifications are identified and discussed as they relate to historically entrenched problems perceived with Schumann's originally employed practices of orchestration. The analysis focuses on overall patterns of alteration imposed by Weingartner and their perceived effectiveness in achieving a noticeably improved aural outcome.

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23

Green, James Matthew. "The History and Usage of the Tuba in Russia". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449095115.

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24

Thomson, John A. (John Alistair). "The gypsy in violin music: a lecture recital featuring the music of Kreisler, Ravel, and Sarasate : together with three recitals of music by Bartók, Beethoven, Chausson, Dvořák, Schoenberg, Schubert, Shostakovich, and Tchaikovsky". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332656/.

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The lecture recital is an examination of Roma music with particular emphasis on violin repertoire. The lecture was followed by a performance of Kriesler's La Gitana, Sarasate's Zigeunerweisen, and Ravel's Tzigane.

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25

Lischke, André. "Tchaikovski au miroir de ses écrits". Paris 4, 1996. http://www.theses.fr/1996PA040157.

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26

Zelvyte, Giusiano Indre Eugenija. "Les tendances pianistiques des années 1985-2010 à travers trois concours internationaux : Chopin de Varsovie, Long-Thibaud de Paris et Tchaïkovski de Moscou". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040003.

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Cette thèse permet de mettre en lumière divers aspects de l’interprétation pianistique contemporaine. Pour cela, trois concours internationaux ont été choisis – Chopin de Varsovie, Long-Thibaud de Paris et Tchaïkovski de Moscou – de façon à exposer au mieux, à travers des épreuves de ce genre, la situation de l’art pianistique à une échelle mondiale sous des rapports divers : social et historique en relation avec chacune de ces compétitions, technique dans la chaîne compositeur-interprète-auditeur, et artistique sur la base de l’étude des interprétations des finalistes durant la période 1985-2010, sans oublier les enjeux de l’évaluation dans ce cadre.L’analyse générale de la situation actuelle a mis en évidence l’utilité de ces concours dans la vie musicale contemporaine. Si les valeurs esthétiques du monde actuel ne stimulent pas réellement la formation de personnalités d’une grande force et d’une réelle profondeur, un certain nombre de signes positifs semblent toutefois se dégager de ces manifestations
The scientific work reveals various aspects of contemporary piano performance. Three international piano competitions were chosen – Chopin in Warsaw, Long-Thibaud in Paris and Tchaikovsky in Moscow – because it is through events like these ones that is exposed to its best the situation of pianistic art on a global scale. Given the complexity of our questions, we have shared our research in several areas: social and historical related to each analyzed musical competition, technical according to the chain composer-performer-listener, and artistic based on the study of interpretations of the finalists during the period 1985-2010, preceded by issues evaluation in this context.The general analysis of the current situation has highlighted the need of these competitions in contemporary musical life. If the aesthetic values of the modern world do not actually stimulate the formation of deep and strong personalities, a number of positive signs, however, seem to emerge from these events

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27

Tchaikovski, Vadim [Verfasser]. "Inhibition of postangioplasty restenosis using antisense approach / Vadim Tchaikovski". Ulm : Universität Ulm. Medizinische Fakultät, 2003. http://d-nb.info/1015354696/34.

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28

Ferreira, Susana Milena. "Poesia de A. K. Tolstoy em duas abordagens para canto e piano". Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12783.

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Mestrado em Música
Neste trabalho procurou-se fazer uma análise interpretativa e musical de seis poemas de Aleksey Konstantinovich Tolstoy, poeta, novelista de finais do séc. XIX, musicados pelos importantes compositores russos: Tchaikovsky e Rimsky-Korsakov.
In this work we tried to make an interpretative and musical analysis of six poems by Aleksey Konstantinovich Tolstoy, Russian poet, novelist and playwright, of the nineteenth-century, composed by great Russian composers such as: Tchaikovsky and Rimsky-Korsakov.

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29

Beard-Stradley, Cloyce (Cloyce May). "A performer's analysis of Benjamin Britten's Phaedra, dramatic cantata for mezzo soprano and small orchestra, op. 93: a lecture recital, together with three recitals of selected works of H. Purcell, R. Schumann, R. Vaughan Williams, P. Tchaikovsky, G. Fauré, K. Löwe, G. Menotti, S. Barber and others". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935558/.

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A little-known chamber work by Benjamin Britten is the dramatic cantata Phaedra, op.93, for mezzo-soprano and small orchestra. Among his chamber works, the solo cantata was a musical form used only once by Britten, thus making Phaedra unique among Britten's oeuvre. Britten chose a genre that flourished in the seventeenth and eighteenth centuries the cantata - as a vehicle for the story of Phaedra. He employs clear allusions to Baroque music in Phaedra by the use of harpsichord and continuo in the recitatives, ornamentation, and word painting. The text for Britten's setting of Phaedra is a translation of Jean Racine's Phedre by the American poet Robert Lowell. From Lowell's complete play, Britten extracted Phaedra's key speeches that deal with her three confessions of incestuous love for her stepson, Hippolytus. These monologues are set in a series of recitatives and arias that make up the entirety of this chamber cantata. In order to gain complete understanding of Phaedra, this document will begin with an investigation into the historical background of Racine's Phedre and the conventions of French tragedy from which it arose. Lowell's translation method will then be explored in comparison to Racine's play. In turn, Britten's extractions from Lowell's translation will be examined. Further, the baroque elements of the cantata and the compositional ideas inherited by Britten from Henry Purcell will be included. Finally, there will be an inspection of the character of Phaedra and Britten's interpretation through orchestration and melodic choices. Investigation into the background of Phaedra's character through Racine's play and Lowell's translation along with Britten's dramatic interpretation through music is necessary for complete comprehension of her mental state and underlying thoughts in order to bring about an emotionally accurate portrayal of the role. Britten himself labeled Phaedra a "dramatic cantata." Therefore, the drama and its text-musical relationships must be uncovered.

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30

Lapinski, Bobby (Robert M. ). "The Orchestral Clarinetist's Guide to Selected Second Clarinet Excerpts". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984160/.

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Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing second clarinet will be discussed as a whole and as it pertains to selected excerpts. The excerpts included in this document are: Bartók Concerto for Orchestra, Mendelssohn The Hebrides and Scherzo from A Midsummer Night's Dream, Ravel Daphis et Chloé and Rapsodie Espagnole, and Tchaikovsky Symphony No. 5.

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31

Brown, Breighan Moira. ""Transforming chaos": modes of ambiguity in Tchaikovskys Symphony No. 5 in E Minor /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1187004301.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Dr. David Carson Berry Title from electronic thesis title page (viewed Nov. 17, 2007). Includes abstract. Keywords: ambiguity; Tchaikovsky; thresholdism; Schenkerian Analysis; Rhythm and Meter; motivic parallelism; markedness; plagal ambiguity; subdominant; semiotics Includes bibliographical references.

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32

Ilic, Nathalie. "La dame de Pique de Piotr Tchaikovski, mise en scène par Vsevolod Meyerhold en 1935". Paris, INALCO, 1995. http://www.theses.fr/1995INAL0015.

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33

Dorozhkina, Elena V. "A Performer's Guide to the First Two Movements of Pyotr Tchaikovsky's Grand Sonata in G Major, Opus 37". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177192/.

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The Grand Sonata in G Major, Op.37, composed by Tchaikovsky, is a powerful large-scale composition and a piece of a symphonic scope. However, the sonata did not receive a desired acclaim in the modern repertoire partially due to an obvious lack of performance instructions in the existing editions, which makes the sonata challenging to perform. Thus, in order to reduce the technical challenges and to encourage more frequent performances of the sonata, this dissertation offers a performer's guide that addresses essential elements of pedal indications, phrasing and detailed dynamics, as well as suggestions on voice balancing, agogics, fingering, and hand redistribution. The guide consists of musical examples that are focused on the most challenging sections of the sonata, and is organized in the subsections according to a technique type proposed to facilitate a performance of the sonata. In addition to the examples on application of individual techniques presented in the main body of the dissertation, alternative and more elaborate versions of the suggestions are proposed in the appendices. The dissertation also provides a history of the sonata, and discusses its concept and symphonic principles. Additionally, the work highlights Tchaikovsky's piano style and describes his views on the art of piano performance. A special attention is also given to two musical references repeatedly embedded into the sonata: the bell-like sonorities and Dies irae melody.

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34

Rudeforth, Helen Elizabeth. "Words, ideas and music : a study of Tchaikovsky's last completed work, the Six Songs, Opus 73". Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/666/.

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This study focuses on P.I. Tchaikovsky's last completed work, the richly symbolic Six Songs, Opus 73. It demonstrates for the first time how Tchaikovsky's significant literary talents impacted on his song output in general, and on this cycle of songs in particular, providing us also with new insights into his personality. The composer selected and sequenced the poems used for the Opus 73 set to form the cycle of texts himself. The resulting songs are underpinned by a network of internal connections, which parallel the techniques used in the original poems in remarkable ways and link subtly with coded fate messages found elsewhere in the composer's output. The study presents evidence which enhances Pyotr Il'ich's reputation as a skilled manipulator of words, ideas and music.

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35

Lukjanov, Julia. "Die antike Konzeption des Liebesbegriffes in der deutschen und russischen Literatur und Musik im 19. Jahrhundert anhand der Werke von E. T. A. Hoffmann, A. Puschkin, R. Schumann und P. Tschaikowski". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2010. http://dx.doi.org/10.18452/16104.

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Diese Arbeit untersucht den Begriff der Liebe interdisziplinär in der Literatur und in der Musik in Deutschland und Russland in der Epoche der Romantik. Ausgegangen wird von der antiken Rede des Sokrates über Liebe und seiner Definition von ihr, welche Platon in seinem „Symposion“ nach Sokrates aufschreibt. Diese wird in die Zeit der Romantik zuerst in die deutsche und russische Literatur und später auf die Musik übertragen und untersucht. Welche Veränderungen treten im Verständnis des Begriffes auf? Welche Unterschiede oder möglichen Parallelen in den zwei auf den ersten Blick unterschiedlichen Kulturen und Mentalitäten sind vorhanden? Welchen Einfluss nehmen die Persönlichkeiten der Künstler auf diese Veränderungen? Die Ergebnisse werden auf einzelne Werke der Schriftsteller, A. Puschkin und E.T.A. Hoffmann, und auf die Vertonungen dieser Werke der Komponisten, P. Tschaikowski und R. Schumann, übertragen. Diese, in erster Linie literaturwissenschaftliche Untersuchung stellt den Begriff der Liebe in den Vordergrund, noch vor der Person oder dem Werk des Künstlers. Somit ist das vorrangige Ziel der Arbeit, der Rezeption der platonischen Liebestheorie während der Epoche der Romantik nachzugehen. Der Gedanke der eigenen Wandelbarkeit und der Entwicklung des Schönen und der Liebe als Stufenweg korrespondiert mit der Erkenntnisphilosophie der Romantiker. Das Thema der Liebe hat auch in der heutigen Zeit eine wichtige Bedeutung, vor allem weil die Medien immer öfter von einer Krise der moralischen Werte sprechen. Die Liebe ist transmedial, sie durchwandert das subjektive Leben des Menschen, die objektiven äußeren Voraussetzungen, die Kultur und die Mentalität, die Literatur und die Musik und sie bleibt eine Sehnsucht, ein Streben, eine Idee. Sie ist aktiv und überbrückt jegliche Schranken als Kommunikationscode oder als höchster Versuch, den die Natur macht, um das Individuum aus sich heraus und zu dem anderen hinzuführen.
This work examines the expression of Love in an interdisciplinary approach to literature and music in Germany and Russia during the Romantic Period. The starting point is Socrates’ classical discourse about Love and his definition of it, which Plato recorded in his Symposium. This will be applied to and examined in the Romantic Period, first in German and Russian literature and later in Music. What changes occur in the reception of this term? What differences or possible parallels can be determined in the two cultures and mentalities that are different at first sight? What is the influence of the respective artists on these changes? The results will be applied to the individual works of the writers A. Pushkin and E.T.A. Hoffmann as well as the musical settings of these works by the composers P. Tchaikovsky and R. Schumann. This examination, which is based primarily on literature and literary criticism, places the concept of Love in the foreground, even above the person or the work of the respective artist. Therefore, the primary goal of this work is to follow the reception of Plato’s “theory of love” during the Romantic Period. The concepts of one’s own inconstancy, the development of beauty, and the path of love correspond with the metacognitive philosophy of the Romantics. The subject of love has particular significance today because of the media’s frequent discussions about the crisis of moral values. Love is transmedial. It transcends the subjective lives of humans, the objective external conditions, culture and mentality, literature and music; and it remains a desire, an ambition, an idea. Love is active and bridges every boundary as a communicational code or as nature’s utmost attempt to lead an individual out of himself and to another.

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36

Georgiades, Rebecca. "Mozart, Beethoven, and Tschaikovsky: Their rich heritage of music". CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/617.

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37

Fortuna-Makarov, Virginia. "Les opéras de Tchaïkovski : dramaturgie du fatum et intériorisation du drame musical". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040091.

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La musique de Tchaïkovski est une source intarissable, tel un livre lu et relu, dans lequel se descellent des pages encore des plus intéressantes. Ce travail se propose d’aborder les opéras de Tchaïkovski sous l’aspect d’une dramaturgie du fatum : dramaturgie comme structure pensante, évocatrice de sens, en elle est contenue la manière de penser du créateur ; et fatum comme force inéluctable, omniprésente dans l’œuvre de ce compositeur romantique. Afin de constituer ce qui serait le système musico-dramatique de Tchaïkovski, nous avons cherché les axes fondamentaux – communs à toutes ces œuvres –, en dissociant les forces actantes de l’action dramatique. Ce travail se veut également comme une tentative de concrétiser la réalisation en musique d’une catégorie dramaturgique fondamentale – celle du conflit. Il propose aussi une synthèse des quelques-uns des principes formels, tonals et orchestraux qui servent la cause d’une dramaturgie opératique subtile et efficace en même temps
Tchaikovski’s music is an inexhaustible source, like a book that one can read and read over again, still containing among the most interesting pages. This work intend to approach the Tchaikovski’s operas from the angle of the fatum’s dramaturgy : dramaturgy as thinking structure, meaning evocative, as it contains the way of thinking of its creator ; and fatum as an ineluctable force, omnipresent in the creation of this romantic composer. In order to build what would be the musico-dramatic system of Tchaikovski, we searched the fondamental axes – commun for all these works –, dissociating the acting forces of the dramatic action. This work want to be also a try to put in concrete form the realization in music of one of the fondamental dramaturgical category – the conflict. It propose also a synthesis of some of the formal, tonal and orchestral principles serving the goal of a opera dramaturgy, subtle and efficient in the same time

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38

Hutchings, Jessica. "Tchaikovsky : a tribute". Thesis, 2003. http://spectrum.library.concordia.ca/1986/1/MQ77640.pdf.

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Tchaikovsky: A Tribute gives a fictionalized account of Peter Tchaikovsky's life as experienced and related by Nicolas Conradi, teenaged pupil to Peter's brother Modest. Hailing from Paris, the deaf Kolya is as yet immature--self-centred, inconsistent, pretentious and idealistic. His attempted portrayal of the apparently contrary characters of composer and brother succeeds rather in betraying his own characteristics and flaws. Hailing from Paris, the deaf Nicolas is as yet immature--self-centred, inconsistent, pretentious and idealistic. His attempt to portray the apparently contrary characters of composer and brother succeeds rather in betraying his own, limited self. Nicolas' character and narration set out the manuscript's twin themes: the dynamic between Romanticism and Rationalism and the nature of fiction-making. Allied to the first is an interest in the phenomenon of the sensitive artist, or, rather, in those uniformly obscure figures who support and allow for that phenomenon. Individualism and self-expression are balanced by the more circumspect if more circumscribed reason. Allied to the second is an interest in the contingent nature of interpretation, translation--from fact into fiction especially--and revelation. This meta-fictional quality derives from an imperfect understanding and immense admiration of Vladimir Nabokov, whose style the novella likewise engages and variously travesties. Tchaikovsky is as much a tribute to him as it is to either brother.

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Sellinger, Dionne Rachelle. "Role of tatiana in Eugene Onegin by Tchaikovsky". Thesis, 2006. http://hdl.handle.net/2429/17760.

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The thesis for the Master of Music degree in Opera consists of the performance of a major role in one full opera production in the first or second year. My major role in one full opera production was performed in Eugene Onegin on March 6, 2005.
Arts, Faculty of
Music, School of
Graduate

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40

Chen, Wan-Ling, e 陳婉玲. "Comparison of Berlioz Symphonie Fantastique and Tchaikovsky Manfred Symphony". Thesis, 1995. http://ndltd.ncl.edu.tw/handle/40400454251394688838.

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碩士
國立師範大學
音樂學系
83
This essay's argument can be divided into three parts: 1.Musical Composition Background-Included composer's life and the story of composing on the two pieces of original work. 2.Comparison of Works'Content-Included body musical analysis and inner original works'content.Furthermore,original works' content discussed the dramatization and the design of the fixed reading technique from the literature background of the music.3. Comparison of Conductors'Style-Comparison of the conductors' style between the basic and the interpretat- ion of the work. In summary, these three elements form the framework of the comparison,and the results of comprehensive study for each part form a whole.In the paper, part of the investigation focuses on confirming conclusions,part focuses on the impressions one receives, and part focuses on research findings.Comparative analysis of musical work is enlighten- ing:resourceful scholarly research can expand the field of vision.

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41

Sun, Ai-Kuang, e 孫愛光. "The Study of Tchaikovsky Symphony No.5 op.64". Thesis, 1993. http://ndltd.ncl.edu.tw/handle/50585158356481897307.

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碩士
國立師範大學
音樂學系
81
The study of the Tchaikovsky fifth symphony centers on reserch of interpretation for conducting. This symphony was written during his last compositional period (1885- 93) in 1888, ten years after the fourth symphony. Tchai- kovsky incorporates the Russian and Polish folktune and western writing techniques into his own unique style. The thesis contens six main parts. Chapter one is the introduction of the paper. Chapter two briefly discuss Tchaikovsky's life and musical creation. Chapter four and five feature the main part of the entire study, including stylelistic and formal analisis, instrumenta- tion, orchestration, interpretation and how to train and conduct this symphony. Tchaikovsky employs the traditional symphony formal structure in the first, second, and fourth movements. He incorporates the French waltz structure in the third movement. The composer concludes the symphony with heroic, marching style in a major key, which represents his victory over the fate.

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42

Lee, Ying-ying, e 李盈瑩. "The version compared about Tchaikovsky Variation on a Theme Rococo". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/6w24qc.

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碩士
國立中山大學
音樂學系研究所
96
In the nineteenth century, Tchaikovsky was an important, representative composer in Russia and succeeds the prior previous musical development of Russia. Back then, I think this what was mean type of works were quite fundamental. In 1876, he had written the cello piece, “Variation on a Theme Rococo,” and dedicated to a cellist, Fitzenhagen. Fitzenhagen changed the sequence for the variations, deleted and rewrote some segments. As a result, it made the version different from the one that was composed by Tchaikovsky. The version edited by Fitzenhagen was published, and it has been played until now. This lecture-recital document contains the following two main sections. First, it describes the biographical information about Tchaikovsky, his works accompanied by orchestra, and the friendship between Tchaikovsky and Fitzenhaen. The second part, compares the changes in the sequence of the variations between Fitzenhagen version and Tchaikovsky’s Original version that examines the terminology, the role and the decoration of the bridge section ,and it offers some ways for practicing skills for Fitzenhagen’s version.

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Lee, Tai-Chih, e 李岱值. "The Study and Conducting Interpretation of Tchaikovsky Symphony no. 5". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/99711131195831773549.

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碩士
國立臺灣師範大學
音樂學系
104
Tchaikovsky Symphony No. 5 is one of the composer's last three symphonies. This piece embodies characteristics of Beethoven Symphony No. 5, specifically the skillfully constructed “cyclic form” arrangement. Furthermore, it is widely accepted that the symphony features the “fate theme”. However, I would like to argue that it features a similar but different theme, the “Motto theme” (a theme that occurs throughout the whole piece). This style of theme and the previously described musical arrangement has allowed Tchaikovsky's fifth symphony to take a rather prominent standing in the history of symphonic music. Although the recurring theme throughout this piece is the “Motto theme”, is it fair to subsequently characterize this symphony as program music? This question is still being discussed by the current day music academia. This dissertation focuses on the analysis of Tchaikovsky's fifth symphony, a work which is seldom discussed by academic papers from Taiwan. This dissertation analyses the musical tonality, structure and the composer's line of creative thinking for this particular symphony. Such an analysis will be explained from a conductor's point of view.

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Lin, Shing-Yi, e 林欣怡. "Analysis and Interpretation of Tchaikovsky《The Seasons,Opus 37》for Piano". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/ahb43m.

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45

Lee, Ying hui, e 李映慧. "The Analysis and Interpretation of violin concerto op.35 by Tchaikovsky". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/53465202935349715569.

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46

Cheng, Hsiao-Ching, e 鄭筱清. "Analysis and Interpretation of Tchaikovsky''s 《Dumka, Op. 59》". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/01832140482873002340.

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碩士
台南應用科技大學
音樂研究所
100
Tchaikovsky’s Dumka, Op.59 , was composed in 1886 and published in 1887. Bearing the subtitle “Russian village scene”, Dumka is full of Russian countryside atmosphere and demonstrated Slavic characters strongly. This thesis is dedicated to the research of Tchaikovsky’s Dumka . By investigating the musical elements, structure, and background of Dumka , the researcher wishes to search for a reasonable way to analyze and interpret this composition. This thesis is divided into six chapters. Chapter One explains the research purpose and the methodology. In Chapter Two, the researcher examines Tchaikovsky’s background and work by dividing the composer’s life into three stages. Chapter Three investigates “Dumka” as a musical genre and looks at the development and structure of this Slavic dance form. Chapter Four is devoted to musical analysis of Tchaikovsky’s Dumka through the discussion on musical elements such as form, dynamics, tempo, and tone color. In Chapter Five the researcher focuses on the interpretation of Dumka and attempts to establish a sensible way to perform the piece which truly reveals Tchaikovsky’s portrait of resolute Russian temperaments and rustic dance. Chapter Six concludes this thesis by presenting the significance and influence of Tchaikovsky’s Dumka to Russian music.

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47

Chang, Yu-Chia, e 張育嘉. "The Synthesis of Poetry and Music in The Seasons by Tchaikovsky". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/97eth7.

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碩士
國立臺南藝術大學
音樂學系碩士班
106
Music and literature have always been closely related to each other until this day. Doubtlessly, the development of both art forms complements each other throughout history. The purpose of this paper is to investigate the combination of literature and music. Tchaikovsky: The Seasons, Op.37b which consists of twelves pieces with titles was composed between 1875-1876. The set describes the different characters of the 12 months in Russia including its natural scenery, festivals and people’s lives, etc. A poem exists along with each month and the music is consistent with the content of the poetry. This paper will take Tchaikovsky: The Seasons, Op.37b as an example to explore the combination of poetry and music form, and analyze how the composer conveys the content and conception of the poems by piano music.

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48

ZHU, FANG-JIE, e 朱芳頡. "Analysis and Interpretation of Tchaikovsky 《The Seasons, Opus 37a》 for piano". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/zxsmdx.

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Abstract (sommario):

碩士
國立東華大學
音樂學系
107
Peter Ilyitch Tchaikovsky is one of the most distinguished Russian composers in the world of the 19th century. The Russian folk elements were employed in his works to show his patriotic passion. The essence of this thesis is based on researching of Tchaikovsky’s Piano solo work " The Seasons", Op.37a. There are five chapters in this research. The first chapter is an introduction, which states the motive and purpose of this research. The second chapter focuses on the composer’s life and his piano works. The third chapter expands on the background of the " The Seasons, Op.37a" and analysis on form, tonality and rhythm. The fourth chapter is an interpretation and performance practice. The fifth chapter will conclude with the result of my research.

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49

Chung, Bin yi, e 鍾炳宜. "A Interpretational Research on Three Cello Works by Bach, Haydn and Tchaikovsky". Thesis, 1997. http://ndltd.ncl.edu.tw/handle/53981305087712805998.

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50

Lin, Chen-Yi, e 林承毅. "Analysis and Interpretation of Pyotr Ilich Tchaikovsky 6 Morceaux for piano, op.19". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/psx4sq.

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Tesi sul tema "Tchaikovsky"

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