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Gerald, Ginther. "Revisionism in the music history of Dmitry Shostakovich: the Shostakovich Wars". Thesis, University of Canterbury. School of Languages, Cultures and Linguistics, 2008. http://hdl.handle.net/10092/5342.
Pełny tekst źródłaAbdel-Aziz, Mahmud. "Form und Gehalt in den Violoncellowerken von Dmitri Schostakowitsch". Regensburg : G. Bosse, 1992. http://books.google.com/books?id=xxpBAAAAMAAJ.
Pełny tekst źródłaHibberd, Kristian Philip Gordon. "Shostakovich and Bakhtin : a critical investigation". Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416963.
Pełny tekst źródłaRosen, Nevin Brian. "Part I The Seven Days of Creation For Narrator and String Orchestra Part II Shostakovich's Symphony No. 5, Movement 4: A Parametric Analysis". Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1253141186.
Pełny tekst źródłaLee, Jung-Hwa. "Dmitri Shostkovich's [sic] Piano concerto op. 35 a pianist's performance guide /". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227641553.
Pełny tekst źródłaVici, Gabriella. "Distorted Tradition as Contemporary Expression: Models of Decadent Procedures in Bartók and Shostakovich". Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/22885.
Pełny tekst źródłaTentser, Alexander. "The second piano sonata by Dmitrii Shostakovich a style analysis /". Full text available online (restricted access) Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/9713417.pdf.
Pełny tekst źródłaTentser, Alexander 1965. "The Second Piano Sonata by Dimitrii Shostakovich: A style analysis". Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290631.
Pełny tekst źródłaDavis, Anna Megan. "A Russian eschatology : theological reflections on the music of Dmitri Shostakovich". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3528.
Pełny tekst źródłaAlexander, Justin. "The evolution of the xylophone through the symphonies of Dmitri Shostakovich". Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3625708.
Pełny tekst źródłaThis treatise focuses on the evolution of the xylophone in the music of Dmitri Shostakovich. The xylophone occupied an important position in Shostakovich's aesthetic, evidenced in the exposed solos of the first Jazz Suite and the Polka from The Golden Age. In his symphonies, Shostakovich's use of the xylophone expands the role of the instrument from a demarcation or coloristic device to a vehicle of complex cultural and personal ideas ranging from the struggle of the Soviet people under Joseph Stalin, the composer's own hatred of war, and prominently, the multi-faceted idea of betrayal. This document presents a biographical overview of Shostakovich's life, an overview of the history of the xylophone from antiquity through the Twentieth Century, and an analysis of the use of the xylophone in Shostakovich's symphonies. Rhythmic and melodic motives, orchestrational effects, and pitch class relationships are examined in addition to specific score examples.
Rofe, Michael David. "Shostakovich and the Russian doll dimensions of energy in the symphonies". Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/11069/.
Pełny tekst źródłaCoelho, Gilberto André da Silva. "Thesis: processo criativo a partir do estudo de Shostakovich e Schnittke". Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15258.
Pełny tekst źródłaEste projeto artístico tem como ponto central a elaboração de Thesis, uma obra original composta por mim que resulta de um estudo prévio de elementos composicionais, estética e linguagem musical adotados nas obras sinfónicas de Shostakovich e de Schnittke, que aliado ao meu próprio pensamento musical e à minha identidade enquanto compositor, serve como ponto de partida para a criação desta obra original. Nesse sentido, este trabalho é constituído por duas partes. Na primeira parte promovo um estudo que serve de base para perceber como é elaborado um processo criativo, nomeadamente o caso específico do processo criativo musical, e analiso os processos composicionais, estéticos e linguagem musical de Shostakovich e de Schnittke. A segunda parte é dedicada a Thesis, sendo apresentada uma análise descritiva da obra, seguido da sua partitura.
This artistic project focus on the development of Thesis - an original work that results from a previous study of aesthetics and musical language adopted in the symphonic works of Shostakovich and Schnittke. Combined with my own musical thought and my identity as a composer, it serves as a starting point for the creation of this work. This work consists of two parts. In the first part I promote a study about how to design a creative process, including the specific case of the musical creative process, and I analyze the compositional processes, aesthetic and musical language of Shostakovich and Schnittke. The second part is dedicated to Thesis, being presented a descriptive analysis of the work, followed by its score.
Kuhn, Judith Ellen. "Shostakovich in dialogue: Form and imagery in the first sic string quartets". Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488767.
Pełny tekst źródłaTaam, Pedro Luiz Magalhães. "Dmitri Shostakovich e a Sétima Sinfonia: “Leningrado”: micropolítica e máquina de guerra". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21343.
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In the preset work, we discuss Dmitry Shostakovich’s Seventh Symphony, henceforth called the Seventh. The Seventh is and was object of political interpretations throughout all of its existence, but our research question is that all of past interpretations fail to acknowledge politics as having both a micro and macropolitical dimensions, the later having to do with party, identity and representational politics and the former with subjectivity and becomings. Historically, all of the Seventh’s reception was marked by identity and representation (“invasion theme”, “proregime”, “anti-communist”, revisionism and anti-revisionism), but the present dissertation is the first work which raises the hypothesis of the Seventh having a revolutionary power (potentia) in the micropolitical field. Since we are dealing with a political question within a musical work, our corpus is a combination of the musical text, Shostakovich’s repercussion in musicology post-1979 (the so-called Shostakovich Wars) and a theoretical framework composed by Suely Rolnik’s micropolitical theory (which unfolds in psychoanalisys, philosophy and semiotics) and Deleuze and Guattari’s philosophy. In A Thousand Plateaus, Deleuze and Guattari deal with two aspects of the State-form: the war machine and the State apparatus. These two aspects work as two poles: in the State apparatus pole there are the identity politics, the representation systems (both political and semiotic), and the signifying semiotics or semiologies. In the war machine pole there are the a-signifying semiotics, the micropolitics, the non-hegemonic ways of life (genres de vie) or non-hegemonic modes of existence, the revolutionary-becomings and all there is that is fresh and has not yet been captured by the State apparatus. By going through this theoretical path, always in dialogue with Shostakovich’s life and work, we arrive at the conclusion that, both in the aesthetic and musical qualities of the Seventh and in its micropolitical dimension, as well as the composer’s mode of being, we find the behavior of a war machine
O objeto do presente trabalho é a Sinfonia em Dó Maior Nº7 Op.60 de Dmitri Shostakovich, chamada doravante de Sétima. Nossa questão de pesquisa é que a Sétima foi alvo de interpretações políticas por toda a sua vida, no entanto, uma falha nessas abordagens: nenhuma delas entende a política como tendo uma dimensão macro e uma micro, aquela se referindo a partidos, representações e identidades e esta a subjetividades e devires. Historicamente, toda a sua recepção foi marcada por representações e identidades (“tema da invasão”, “pró-regime”, “anticomunista”, revisionistas e antirrevisionistas), mas este é o primeiro trabalho que levanta a hipótese da existência de uma potência revolucionária da Sétima no campo micropolítico. Trata-se de uma questão política dentro de uma obra musical. Para desenvolvê-la, temos como corpus o texto musical e a sua repercussão musicológica de Shostakovich pós-1979 (as chamadas “Shostakovich Wars”) e, como referenciais teóricos, a teoria micropolítica de Suely Rolnik (que se desdobra em psicanálise, filosofia e semiótica) e a filosofia de Gilles Deleuze e Félix Guattari. Em Mil Platôs, Deleuze e Guattari tratam de dois aspectos da forma-Estado: a máquina de guerra e o aparelho de estado. No pólo do aparelho de estado encontramos as políticas identitárias e os sistemas de representação, as semióticas significantes ou semiologias. No pólo da máquina de guerra encontram-se as semióticas assignificantes, as micropolíticas, os modos de existência ou de vida não-hegemônicos, os devires-revolucionários, aquilo que há de fresco e que ainda não foi capturado pelo aparelho do estado. Trilhando esse caminho teórico, sempre em diálogo com a obra e o autor, podemos arriscar nossas conclusões. A conclusão a que chegamos é que, tanto nas qualidades estéticas e musicais da Sétima quanto na dimensão micropolítica da obra e do modo de vida de Shostakovich, observa-se o comportamento de uma máquina de guerra
Noda, Luciana. "Uma análise retórica da Fuga Opus 87 nº 4 de Dimitri Shostakovich". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/5592.
Pełny tekst źródłaSheinberg, Esti. "Irony, satire, parody and the grotesque in the music of D.D. Shostakovich". Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/22627.
Pełny tekst źródłaKan, Ling-Yu. "The Significance of Dmitri Shostakovich's Piano Sonata Op.12". Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3657.
Pełny tekst źródłaSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 31, 2003, Nov. 10, 2003, Mar. 29, 2004, and Mar. 8, 2007. Includes bibliographical references (p. 42-43).
Lee, Sunny. "The unique expression of Shostakovich's violin writing /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11436.
Pełny tekst źródłaMartínez, Aquino Selva Viviana. "Guias de execução na memorizaçãodo segundo movimento da Sonata nº 2 de Dmitri Shostakovich". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/77885.
Pełny tekst źródłaThe present dissertation evaluated the applicability of Roger Chaffin´s performance cues as a strategy for the memorization of the Second Movement of Shostakovich’s Second Piano Sonata. A case study was conducted in which the author is the subject of the study. The methodology included the written record of the practice sessions, audio and video recordings of public performances, use of spreadsheets and graphs showing memory failures during public performances, as well as the development of other strategies to memorize specific passages of the chosen work. The results show that deliberate practice supported by the selected resources contributed to the memory retrieval while playing.
Titus, Joan Marie. "Montage Shostakovich: Film, Popular Culture, and the Finale of the Piano Concerto No.1". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392805966.
Pełny tekst źródłaLee, Tze Fung Alfred. "Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical Study". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278786/.
Pełny tekst źródłaTitus, Joan Marie. "Modernism, socialist realism, and identity in the early film music of Dmitry Shostakovich, 1929-1932". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164752307.
Pełny tekst źródłaBender, J. Dennis. "Eternal problems, eternal themes: Suite on Words of Michelangelo Buonarotti, Op. 145 of Dmitri Shostakovich". University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243356934.
Pełny tekst źródłaLee, Soo Mi. "Musical Borrowing in Four Twentieth-Century Works for Viola By Hindemith, Bloch, Bacewicz, and Shostakovich". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276530744.
Pełny tekst źródłaKroetsch, Terence R. "A baroque model in the twentieth century, the Preludes and fugues, opus 87 of Dmitri Shostakovich". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq21045.pdf.
Pełny tekst źródłaNummela, Arttu. "Dmitri Shostakovich’s Viola Sonata : History and analysis". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3485.
Pełny tekst źródłaCassidy, Robert L. "A comparison of passacaglias in piano trios by Ravel and Shostakovich from a historical and theoretical perspective". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343464.
Pełny tekst źródłaSchool of Music
Guthridge, Lauren Alescandra. "The Symphonies of Dmitri Shostakovich: A Discussion on How Socialist Realism Impacted the Composer and His Music". Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243961.
Pełny tekst źródłaGranados, Juana. "Looking Beyond Shostakovich's Thirteenth Symphony". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1729.
Pełny tekst źródłaMurdock, Mary H. "The Many Facets of Shostakovich's Suite for Voice and Piano, Op. 143". Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/314632.
Pełny tekst źródłaGrabowski, Gregory. "Shostakovich's Use of Satire in Anti-formalist Rayok with a Focus on the Music of the Character Dt Troikin". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699839/.
Pełny tekst źródłaCassell, Holly. "Looking through a Different Lens, Beyond Censorship: The American Reception of Lady Macbeth of the Mtsensk District". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011793/.
Pełny tekst źródłaJones, Laura Frances. "Towards a differently politicised Shostakovich : an analytical, hermeneutical and feminist exploration of the opera "Lady Macbeth of the Mtsensk District"". Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3384/.
Pełny tekst źródłaOh, Hyun Sun. "A Similar Approach with Different Results: the Use of Baroque Elements in Stravinsky’s Suite Italienne (1933), Shostakovich’s Violin Sonata in G Major, Op 134 (1968) and Schnittke’s Suite in the Old Style (1972)". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500108/.
Pełny tekst źródłaPoldjaeva, Jelena. "Die Entwicklung der Schostakowitsch-Symposium-Reihe". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222727.
Pełny tekst źródłaCouch, Roy L. "Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky's The Rite of Spring, Dmitri Shostakovich's Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev's Symphony No. 5 in B flat major, Op. 100". Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/couch%5Froy%5Flee/index.htm.
Pełny tekst źródłaSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 25, 2001, Nov. 18, 2002, Mar. 21, 2005, and Feb. 20, 2006. Includes bibliographical references (p. 44-48).
Poldjaeva, Jelena. "Die Entwicklung der Schostakowitsch-Symposium-Reihe". Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 211-216, 1999. https://ul.qucosa.de/id/qucosa%3A15541.
Pełny tekst źródłaGushue, Ariane C. "Self-Expression Through The String Quartet: An Analysis of Shostakovich's String Quartets No. 1, No. 8, and No. 15". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/710.
Pełny tekst źródłaWalden, Joseph P. "Comparing Formal Analyses of Dmitri Shostakovich’s Symphony No. 5, Op. 47 Through the Theories of James Hepokoski, Warren Darcy, and William Caplin". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408556714.
Pełny tekst źródłaGreen, 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.
Pełny tekst źródłaThomson, 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/.
Pełny tekst źródłaElphick, Daniel. "The string quartets of Mieczysław Weinberg : a critical study". Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-string-quartets-of-mieczyslaw-weinberg-a-critical-study(a156efef-b055-4415-8949-87791374c6bc).html.
Pełny tekst źródłaLuo, Yeou-Huey. "The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332339/.
Pełny tekst źródłaSmith, Gavin W. "An examination of major works for wind band and percussion ensemble : Spring wind -- weather movement I and Storm warning and dance -- Weather movement II by Steve Riley, Prelude op. 34, no. 14 by Dmitri Shostakovich and Tempered steel by Charles R. Young". Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/299.
Pełny tekst źródłaRomare, Barth-Croon Michelle. "Hur startar man en stråkkvartett?" Thesis, University of Skövde, School of Humanities and Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-4182.
Pełny tekst źródłaAv analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt. Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt. Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.
Camargo, Luciano de Freitas. "O discurso sinfônico de Chostakovitch - estudo analítico das sinfonias n. 4 e 5". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-06032013-162237/.
Pełny tekst źródłaThis work presents a comparative study of the Symphonies No. 4 and 5 of Dmitri Shostakovich, analyzing the characteristics of the two works in connection with the events that separated the composition of the two symphonies, especially the ban of his works after the publication of the article Chaos instead music in the official media Pravda in 1936, motivated by the presence of Stalin to a performance of the opera Lady Macbeth of the Mtsensk District. This work intends to show the various aspects of the impact of government persecution in the musical discourse of Shostakovich and its significance to the music of the twentieth century.
Rong, Xing. "A Comparative Study of Polyphonic Techniques in Chang-Lei Zhu's Ballade for Solo Piano". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538807/.
Pełny tekst źródłaDunn, John T. "Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet". Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/dunn%5Fjohn%5Ft/index.htm.
Pełny tekst źródłaCamargo, Luciano de Freitas. "Chostakóvitch - discurso e ação. Análise e interpretação da sinfonia nº10 Op. 93". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-31052017-105300/.
Pełny tekst źródłaThe purpose of this work is to present a reflection about the music of the Soviet composer Dmitri Shostakovich based on an analysis of the Symphony no. 10 op. 93. Written immediately after Joseph Stalin\'s death, the symphony carries remarkable traces of its time, and the unfolding of its singularities demands a careful study of musical signification\'s issues, specially a discussion about the concept of irony applied to music in its various manifestations, from the expressive construction of musical structures to the disposition of singular elements. This kind of analysis requires a wide theoretical perspective, which includes a semiotic approach. This analysis is thus aligned with the discursive perspective that relates irony, intertextuality and interdiscursivity: the voice-crossing and discourse confluence, which constitute fundamental elements of Mikhail Bakhtin\'s concept of polyphony, are taken as keys to identify irony as a structural element in music as well. The analysis of the Symphony no. 10 from this perspective grounds new interpretative and aesthetic hypotheses about Shostakovich\'s music, by revealing on the musical text the contradictions which emerge at the level of symphonic discourse, and by confronting the historical criticism of Shostakovich\'s music with a semiotic interpretation based on topic theory proposed after Leonard Ratner.
Lee, Jung-Hwa. "Dmitri Shostkovich's Piano Concerto Op. 35: A Pianist's Guide For Performance". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1227641553.
Pełny tekst źródła