Дисертації з теми "Klavier op"
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1
De, Villiers Wynand Gideon. "Die uitvoering van Barokklawerbordwerke op die klavier / W.G. de Villiers." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1138.
Повний текст джерелаАнотація:
When Baroque keyboard works are performed on the piano, some pianists try to imitate
the sound of the harpsichord and clavichord. Others try to avoid this by applying
performance practices of the Romantic period to Baroque keyboard works, for the sake
of musical expression. The aim of this study is to determine which alterations can be
made to the performance of Baroque keyboard works on the piano to ensure a musically
expressive, yet stylistically acceptable result.
The following aspects are investigated:
The production and quality of sound, as well as technique of playing at the
harpsichord, clavichord and piano. The possibilities of musical expression at
these instruments are also compared.
The manner of accomplishing musical expression within a Baroque keyboard
work, in terms of appropriate tempo, dynamics and articulation.
The extent to which the sound qualities of the piano can be utilised when
performing Baroque keyboard works on the piano.
This study proves that the alterations made to the performance of Baroque keyboard
works on the piano can be of such nature that the unique sound possibilities of the piano
are utilised, but that the performance still corresponds to Baroque performance practice.Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.
2
Hirschfeld, Caspar René, and Annemarie Bostroem. "5 Lieder in einer Sommernacht: für Sopran und Klavier nach Texten von Annemarie Bostroem: (op. 28)." C. René Hirschfeld, 2020. https://slub.qucosa.de/id/qucosa%3A70947.
Повний текст джерелаАнотація:
5 Lieder für Sopran und Klavier nach Texten von Annemarie Bostroem.:1. Den Frühling, Liebster
2. Wie soll ich diese Nacht nur überstehen
3. Noch ist es Sommer
4. So warm ist die Nacht
5. Weil ich das Feuer liebe
3
Stoll, Renan Eduardo. "Variationen für klavier, op. 27 de Anton Webern : sobre duas práticas de performance distintas a partir da edição dos textos e da gravação de Peter Stadlen e das gravações de Yvonne Loriod e Charles Rosen." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149552.
Повний текст джерелаАнотація:
A presente pesquisa investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o período que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos diferentes de performance. De um lado, o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt; de outro lado, o estilo pré-guerra de Stadlen, o qual lança questionamentos sobre o cânone interpretativo estabelecido pelo estilo do pós-guerra.This research investigates two performance practices of Anton Webern’s Variationen für Klavier, Op. 27 through a comparison between two editions and three recordings of the work. The first edition (the Urtext edition of 1937) and Stadlen’s practical edition of 1979 were compared in regards to the expressive markings added by the composer and the performer, and interpretive aspects of recente literature as well as Stadlen’s texts were considered. Using the software Sonic Visualiser tempo fluctuations were analysed in the recordings by Peter Stadlen (1948), Yvonne Loriod (1961) and Charles Rosen (1969). The results brought to evidence two contrasting performance styles. On the one hand, the post-war style (Cook, 2016) of Loriod and Rosen, marked by the influence of the Darmstadt avant-garde, and, on the other hand, the pre-war style of Peter Stadlen, which calls into question the interpretive canon of the work established by the post-war style of performance.
4
Hsiao, Han Hung, and 洪小涵. "A study of Fantasiestücke für Klarinette und Klavier, Op. 73 by Robert Schumann." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8j2xcn.
Повний текст джерелаАнотація:
碩士國立臺南藝術大學
鋼琴合作藝術研究所
104
Robert Schumann (1810-1856) was one of the representative romantic composers, and was a great music critic. His creation included piano works, art songs, instrumental works, symphonies, concertos, chamber music, operas and so on. Among them, the piano works and art songs took the major place. Fantasy pieces for Clarinet and Piano, Op. 73 (1849) was composed in 1849 and was a mature work in Robert Schumann's later stage. One can find his three other chamber works created in the same year: Adagio and Allegro for Horn and Piano, Op. 70 (1849), 3 Romances for Oboe and Piano, Op. 94 (1849), 5 Pieces in Folk Style, Op. 102 (1849). That year was a prolific period of chamber music creation for Robert Schumann. This report firstly discussed the development of the collaborative piano art and further connected the relationships among composer's biography, background of the time period, and the music creation. At the last, the author also focused on three perspectives of the Fantasy pieces work: the musical structure, the compositional material, and interpretation of the tempo, to categorize and generalize the creative approaches that Robert Schumann usually used. And the author also provided her opinion for interpretation from dual perspectives of clarinetist and collaborative pianist.
5
Lu, Weichen, and 呂維真. "The Analysis and Interpretation of Robert Schumann's《Fantasiestücke für Klavier und Klarinette, Op.73》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/53569570938306510037.
Повний текст джерелаАнотація:
碩士國立臺北教育大學
音樂學系碩士班
99
This thesis studies a clarinet work, Fantasiestücke für Klavier und Klarinette, Op.73 by German composer, Robert Schumann. It was composed in 1849. This work comprises with three separate pieces. The various style and tempo change represent Schumann’s split personality. The author divided this thesis into four chapter. The Introduction includes the research motivation and purpose, scope of research, methodology and literatures. The second chapter provides the background information about Schumann, his style. The third chapter researches his work “Fantasiestücke für Klavier und Klarinette, Op.73,”using music analysis technique and the interpretation of performers. The following forth chapter concludes the previous three chapters. Through this thesis, performers will have better understanding of the birth of “Fantasiestücke, Op.73, ” the meaning of the music, hence perform accordingly.
6
Liu, Hung-I., and 劉虹儀. "An Analysis and Interpretation of Robert Schumann’s Märchenbilder: 4 Stücke für Klavier und Viola, Op. 113." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49cx6p.
Повний текст джерелаАнотація:
碩士國立臺南藝術大學
鋼琴合作藝術研究所
103
Abstract Robert Schumann(1810-1856) composed Märchenbilder: 4 Stücke für Klavier und Viola, Op. 113 in 1851. It consisted of four character pieces and was the only duo work that Schumann wrote for the viola and piano. This work was premiered in 1853. Schumann applied various tempi and dynamic expressions in this work. The poetic dialogues between the viola and the piano make each piece its own unique mood and personality. The thesis comprises three chapters. The composer's life and a discussion of correlation of literature, fairy tale, and character pieces will be introduced in the first chapter. The compositional background, the characteristics as well as the formal structures of the Märchenbilder will be discussed in the second chapter. The third chapter will stress on interpretative points on the tempi, interesting harmonies, keys, dynamics, and interactions between the piano and the viola.
7
Hong-Jun, Chen, and 陳虹君. "A Study of Sechs Deutsche Lieder für eine Singstimme, Klarinette und Klavier Op.103 by Louis Spohr." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/g664mq.
Повний текст джерела
8
謝佳臻. "Franz Peter Schubert：Variations für Flöte und Klavier über “Trockene Blumen” aus “Die schöne Müllerin”. D 802 - Op.160." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27406813906209046091.
Повний текст джерелаАнотація:
碩士臺北市立教育大學
音樂藝術研究所
94
Franz Peter Schubert (1797-1828) was one of the most important pioneers of Romanticism. He was also considered as one of the representatives of post-Classicalism. Although, the musical concept of Classicalism is quite different from that of Romanticism, Schubert successfully integrated two styles in his compositions. In other words, Schubert’s works reflect a dual style which combines the restrictive style of Classicalism and the relatively free style of Romanticism. In his 31-year-long life, Schubert left considerable amount of compositions. Because of the fine melodies and the various internal expressions of his music, his Lieder became popular. As a result, Schubert was awarded a reputation--- the King of Lieder. However, the reputation became a sort of task to him; people ignored the distinctive characters of his instrumental music. Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160 is a solo piece, which Schubert recomposed one of his own vocal music, Die Schöne Müllerin, D. 795, for flute. This piece includes an Adagio prelude, an Andante theme section and seven variations. Contrasted with that of Schubert’s compositions for other instruments, the amount of his compositions for flute is relevant less; however, Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160 becomes one of the most popular repertoires of flute music. This paper is focused on the historical and musical analysis of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160. It will be divided into three sections: (1) the introduction of historical background and the main idea of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160(2) the analysis of musical structure and (3) the interpretation and other performing concern. By pursuing this research, I hope to understand the perspective of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160, and further effect Schubert’s primary idea in performance.
9
Lee, Wan-Ling, and 李宛玲. "An Analysis and Interpretation of Sonate in B-Dur, Op.121 für Flöte und Klavier by Sigfrid Karg-Elert." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/10915879455400807966.
Повний текст джерелаАнотація:
碩士輔仁大學
音樂研究所
100
Sigfrid Karg-Elert (1877-1933), a German composer during first half twentieth century. He was also an organist, a musicologist and a music educationalist. Base on his outstanding harmonic theory, he often used a simple music element to develop as a skillful and emotional master works. During World War one (1914-1918) Sigfrid Karg-Elert has met the member of Gewandhaus Orchestra, and made a lot of works on woodwinds composition. This thesis is a research of Sonata in B flat major for flute Op.121 as made in 1918, in order to give to his best friend Carl Bartuźat who was a flutist in the military. Sigfrid Karg-Elert has modified this work as a trio which included flute, violin and piano. This thesis contains five chapters. The first chapter covered the motive and method of this research. In the second chapter, the composer’s biography, compositional style, and technique were presented. The third chapter was discussed about this specific composition analysis includes the frameworks, use of elements, motives, and development. The fourth chapter focused on the interpretation according to the performance. In the conclusion, it summarizes the personality and background which had influence on Sigfrid Karg-Elert. It presents the whole feature and characteristic of Sonata in B flat major for flute Op.121.
10
Yun-Wen, Lai, and 賴韻文. "G. F. Händel：Sonata for Violin and Klavier in G minor, Op.1,No.10 W. A. Mozart Sonata for Klavier and Violin in C major, KV 296; J. Brahms：Sonata for Violin and Piano in A major, Op. 100; Pablo de Sarasate：Op. 23‚ No. 1 Playera ＆ No. 2 Zapateado." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/4m2eb9.
Повний текст джерелаАнотація:
碩士東海大學
音樂系
97
W. A. Mozart Sonata for Violin and Klavier in G minor, Op.1,No.10 W. A. Mozart Sonata for Klavier and Violin in C major, KV 296 J. Brahms：Sonata for Violin and Piano in A major, Op. 100 Pablo de Sarasate：Op. 23‚ No. 1 Playera ＆ No. 2 Zapateado
11
chaing, ching-i. Fan, and 范姜晶怡. "The Analysis Interpretation and Discussion of Märchenbilder: Vier Stücke für Klavier und Viola, Op. 113 by Robert Schumann (1810-1856)/Viola Music Recital." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/75870619962521288581.
Повний текст джерелаАнотація:
碩士東吳大學
音樂學系
98
Abstract Viola da gamba is the earliest one of the Plucked-String Instruments. Although Viola was dispensable before the 20 century, its performance technique has been elevated recently. Viola makes a strong impression on people that it doesn’t play an accompaniment role any more. Therefore, the compositions for viola which created by the composers have been increasing largely. This Märchenbilder: Vier Stücke für Klavier und Viola, Op. 113 by Robert Schumann (1810-1856) is one of the vital work of Romanticism. It is filled with the composer’s romantic emotion, and it’s melody is beautiful. This thesis is divided into four chapters to introduce this work. First of all, I will introduce Schumann’ life events, style, background of her creation . Second, I will analyze and explain the four pieces, from the chord structure , material, and harmony structure to analyze and take musical contexts for practical examples. Third, I will conclude what performance Technique is necessary, and interpret from my objective viewpoints. Finally, I hope that via this thesis, people who enjoy viola music and the it’s players will understand and appreciate the music characteristics of Schumann more. Viola Music Recital 1.Johann Sebastian Bach (1685-1750) Viola da Gamba Sonata No.2 in D 2.Johann Nepomuk Hummel(1778-1837) FANTAISIE pour ALTO et ORCHESTRE à CORDES 3.Jean Baptiste Charles Dancla(1817-1907) Carnival of Venice 4.Rebecca Helferich Clarke(1886-1979) Sonata For Viola and Piano
12
Janoušková, Michaela. "Vítězslava Kaprálová - hledání vlastní cesty : Partita pro smyčcový orchestr a klavír op. 20, Koncert pro housle, klarinet a orchestr op. 21." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-289373.
Повний текст джерелаАнотація:
Univerzita Karlova Filozoficka fakulta Ustav hudebni vedy Obor: Hudebni veda Diplomova prace Autor: Michaela Janouskova Vitezslava Kapnilova - hledani vlastni cesty Partita pro klavir a smyccovy- orchestr Ope 20 Concertino pro housle, klarinet a orchestr Ope 21 Praze Knihovna ustavu hlldebni Filozoficke faku mlm. J. Palsons 2, Prana 11638 Vedouci diplomove prace: Prof. PhDr. MgA. Milan SlavickJ Oponent diplomove prace: Prof PhDr. Jarmila Gabrielova esc. Datum odevzdani diplomove prace: srpen 2007 Uvod Kapitola III OBSAH Partita pro smyccory orchestr a klavir Ope 20 Kapitola 112 Partita pro smyccory orchestr a klavir Ope 20 - analyza Kapitola 1111 Concertino pro housIe, klarinet a orchestr Ope 21 Kapitola 1112 Concertino pro housIe, klarinet a orchestr Ope 21 - analyza Kapitola III s. 1 - 3 s. 4-7 s.8 - 27 s. 28 - 33 s. 34 - 50 s. 51- 67 Tre Ricercari Bohusiava Martinu a jejich vliv na utvareni noveho ryrazu orchestrainich del VitezsIavy Kapralove Kapitola IV s. 68 - 74 Partita a Concertino v kontextu del VitezsIavy Kapralove Zaver s. 75 - 76 Literatura s. 77 - 78 Pfilohy s. 79 - 89 Prohlasuji, ze jsem diplomovou praci vypracovala samostatne a pouzila vYhradne citovanych pramenu. Souhlasim s pujcovarnm teto pnice ke studijnim ucelum. Uvod Jak napovida jiz sam nazev, bude rna prace venovana skladatelce...
13
Košíček, Vít. "Klavírní dílo S. Prokofjeva a jeho interpretační přínos." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-334729.
Повний текст джерелаАнотація:
The purpose of this thesis is to introduce a musical work of one of the world's most favorite composers of the 20th century - Sergej Prokofiev. Even though I would like to address all his pieces, given the extensiveness of his work and my profession as a pianist and a pedagogue, I decided to focus only on the pieces for solo piano. I detail each piano piece in a catalogue organized by opus number. My analysis focuses on compositions, eventually on cycles, which can be somehow beneficial to us. Beneficial, in this sense means exposure to pieces with variety of character, use of melody and eventually pieces from a various work periods. Another condition during a selection of pieces for my dissertation was various levels of difficulty. The majority of my thesis is dedicated to the piano sonatas. Although they are not very long, they belong to the piano masterpieces forever. Further, I mention less performed Etudes, Op. 2 and Visions fugitives, Op. 22, and on the other hand well known Suit from Romeo and Juliet, Op. 75. The music for children is represented in my analysis by one piece only - Children's Songs, Op. 65. Prokofiev wrote nearly 40 opuses for piano, which makes up almost a third of his work. That is a remarkable number and these pieces are worth interest.
14
Jandová, Zuzana. "Vítězslav Novák: Dvě balady na slova lidové poezie moravské pro smíšený sbor a čtyřruční klavír (orchestr) op. 23." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405555.
Повний текст джерелаАнотація:
Vítězslav Novák wrote his second opus of choral ballads, Two Ballads on Words of Moravian Folk Verses Op. 23 Vražedný milý and Neščasná vojna, in 1900. He set Moravian folk song texts from contemporary song collections to music, the first version was for mixed choir and piano four hands, followed by an orchestration for symphony orchestra. The ballads were a great contribution to choir repertoire and have made their mark in choral concert life, as evidenced by the press. Despite such a great interest, the orchestral score has never been printed and is only available in manuscript. Even critical literature did not deal with this topic more specifically, so there is still some ambiguity, for example, concerning premieres or the state of the sheet music.
15
Čerbová, Zuzana. "Klavírní dílo Alexandra Moyzese (1906-1984) v dobovém kontextu." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369805.
Повний текст джерелаАнотація:
The magister thesis is connected with bachelor's thesis, which was concentrated on Piano Sonata in E minor, op. 2 by Slovak composer Alexander Moyzes (1906-1984) and was concerned on it mainly with collected sources. In this thesis we decided to point out its composing work and possible inspiring sources and therefore the focus of this diploma thesis is its introduction into historical context of piano music of the 19th and 20th centuries. Through composite-technical and stylistic analyses of selected piano sonatas and other works, we want to contribute to the closer characterization of Moyzes composer's personality and to complement the literature that Moyzes Sonate has devoted to in minimal terms from composing work and inspiring sources. Selected pieces include: Brahms Sonata f mol, Op. 5 and Variation and Fugue on a Theme by Handel, op. 24 from the point of view of means of piano stylization, Sonata Eroica, op. 24 for piano by Vít zslav Novák because of their mutual interest in working with modality and mutual close relationships (Moyzes's teacher). In addition to these goals, we will also focus on the other piano works of Moyzes by creating a new chronological inventory based on preserved sources. Key words: Alexander Moyzes, Piano Sonata in E minor op. 2, Johannes Brahms, Vít zslav Novák,...