Дисертації з теми "Preludio e fughe"
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Nicholls, Yasmine. "The lost city : a prelude and fugue /." Title page and prelude only, 2005. http://web4.library.adelaide.edu.au/theses/09AR/09arn6137.pdf.
Повний текст джерелаResnianski, Igor. "RODION SHCHEDRIN'S TWENTY-FOUR PRELUDES AND FUGUES: HISTORIC, ANALYTIC, PERFORMANCE, AND PEDAGOGIC PERSPECTIVES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/68013.
Повний текст джерелаD.M.A.
The Twenty-Four Preludes and Fugues of Rodion Shchedrin is the magnum opus of perhaps the most respected living Russian composer, whose music is virtually unknown in the United States. Inspired by J. S. Bach and following in the footsteps of Dmitri Shostakovich, Shchedrin produced this impressive and original cycle for solo piano. It was written during the span of about six years, from 1964 to 1970. Since then, most of the preludes and fugues have become popular among students and pedagogues in Russian colleges and conservatories. The purpose of this monograph is to introduce this commendable work in the United States and to provide comprehensive structural analysis with performance suggestions and pedagogic overview. For each Prelude and Fugue, this monograph provides clear structural tables, which summarize form, compositional techniques, and rhythmic, textural, and polyphonic organization. In addition it provides performance and pedagogic evaluation of the entire cycle, with short discussions of each prelude and fugue. This monograph begins with a biographic overview of the composer, including a discussion of general aspects of his style, with information about Shchedrin's formal music education in Soviet Russia and influences that helped form his musical language. It also provides an historical context for Shchedrin's cycle, citing precedents for his work. With the growing popularity of Rodion Shchedrin's music outside of Russia, this monograph will be a valuable resource for musicians who are interested in teaching, performing, or studying selected Preludes and Fugues from his cycle.
Temple University--Theses
Lloyd, S. Andrew. "Études: Five Compositional and Technical Studies for Solo Organ." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc499990/.
Повний текст джерелаKim, Inyoung. "Lera Auerbach’s Postmodernist Artistic Expression: The Styles of Chorale, Fugue and Postlude, op. 31 and 24 Preludes for Piano, op. 41." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595846398945752.
Повний текст джерелаVazquez, Medrano Oscar. "A study of L. Van Beethoven’s Sonata Op. 31, No.1; Chopin’s Nocturne Op. 55, No. 2 and Ballade Op. 23; Ponce’s Prelude and Fugue on a theme by Handel; and Larregla’s ¡Viva Navarra! Jota de Concierto: Historical, theoretical and stylistic implications." Kansas State University, 2018. http://hdl.handle.net/2097/38758.
Повний текст джерелаSchool of Music, Theatre, and Dance
Slawomir Dobrzanski
The purpose of this Master’s report is to analyze the five-piano works at the author’s piano recital on April 8, 2018. The discussed pieces are Ludwig van Beethoven’s Sonata in G major Op. 31, No.1; Fryderyk Franciszek Chopin’s Nocturne Op. 55, No. 2 and Ballade in G minor, Op. 23; Manuel M. Ponce’s Prelude and Fugue on a theme by Handel; and Joaquín Larregla Urbieta’s ¡Viva Navarra! Jota de Concierto. The author approaches the analysis and study of the pieces from the historical, theoretical, and stylistic perspectives.
Bergs, Roger. "Prelude and Fugue : for orchestra." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=232659&T=F.
Повний текст джерелаChien, Hui-ju, and 簡慧如. "An Analysis of César Franck''s Piano work "Prelude,Choral and Fugue"." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/34812659208552387762.
Повний текст джерела"J. S. Bach's WTC Book I Prelude and Fugue in B-flat Minor BWV 867: An Analysis and Study of Related Works." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57285.
Повний текст джерелаDissertation/Thesis
Doctoral Dissertation Music 2020
洪怡珍. "The Interpretive analysis of BACH-LISZT Prelude and Fugue in a minor and BACH-BUSONI Chaconne." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/00739540331901340151.
Повний текст джерела"Prelude and Fugue in A Minor by Miloslav Gajdoš A Transcription for Guitar and Performance Guide." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.43946.
Повний текст джерелаDissertation/Thesis
Complete score of the transcription.
Doctoral Dissertation Music 2017
Lee, Yu Chien, and 李郁蒨. "A Study on G Major Prelude and Fugue of Johann Sebastian Bach.／ Lee Yu Chien Piano Recital." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/g33764.
Повний текст джерела東吳大學
音樂學系
102
The Well-Tempered Clavier composed by J. S. Bach is in two volumes. Each book contains twenty-four pairs of preludes and fugues in all 24 major and minor keys.The Well-Tempered Clavier is generally regarded as one of the most influential works in the history of Western tuning. In this study, the author focuses on Bach’s Prelude and Fugue in G Major, BWV 860. This thesis is divided into five chapters as follows. The first chapter is an introduction stating the research motivation, the purpose, as well as literature reviews. The second chapter introduces the historical evolution of prelude and fugue, the composing background and the shared features of the prelude and fugue in Bach’s compositions The third chapter is a musical analysis of Bach’s Prelude and Fugue in G Major, BWV 860; the analysis is conducted according to the order of prelude and fugue. The fourth chapter illustrates music characteristics and performance interpretation. In the part of music characteristics, the shared musical features are discussed in the aspects of tempo, dynamics, and ornament. Bach’s arrangement of musical ideas and the expression for this piece of work are explored in the part of performance interpretation. In the end, the conclusion is drawn in the fifth chapter. Graduate Recital Program: J. S. Bach (1685-1750) Prelude and Fugue in G major BWV 860 Joseph Haydn (1732-1809) Piano Sonata in E minor No.53 Hob. XVI: 34 Alberto Ginastera (1916- 1983) Suite De Danzas Criollas Op. 15 Johannes Brahms (1833-1897) Hungarian Dance, No. 1 Charles T. Griffes (1884-1920) Roman Sketches, op. 7, No. 3 The Fountain of The Acqua Paola Frédéric Chopin (1810-1849) Andante Spianato et Grande Polonaise Brillante op. 22
Seo, Yun-jin. "Three cycles of 24 preludes and fugues by Russian composers : D. Shostakovich, R. Shchedrin and S. Slonimsky /." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3119652.
Повний текст джерелаCHANG, TSAO-CHIH, and 張肇之. "The Performance Practices of《Prelude、Fugue and Allegro in E-flat Major 》BWV998 of Guitar’s Edition by Johann Sebastian Bach." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/t8gxmw.
Повний текст джерела國立臺北教育大學
音樂學系碩士班
106
As one of the masters of the western classical music, Johann Sebastian Bach (1685-1750) wrote a lot of religious music, including a great number of cantatas and compositions for various musical instruments. However, Bach never composed any music especially for classical guitar because it was developed rather lute in history. Fortunately, Bach wrote quite a few works for lute which had a similar structure of guitar and many guitarists can still play Bach’s lute works today, including his work “Prelude, Fugue and Allegro in E flat major, BWV998.” This thesis contains four chapters. The first chapter describes the purpose and the material of the research. The second chapter delineates Bach’s life and the sources and backgrounds for his amazing creativity. The third chapter analyzes and interprets this particular composition. The last chapter gives the summary and conclusion of the research. Bach did not indicate the variations of the dynamics for this work. Therefore I attempt to explore the possible dynamics of the music and to give it a more lively interpretation by combining the Baroque musical performance practices and my own performance experiences in this thesis.
Tasi, Yi-Shan, and 蔡宜珊. "Transcription and re-creation: Piano as a vehicle of musical transcription as seen from Bach- Liszts Prelude and Fugue in A minor, BWV543 and Bach- Busonis Toccata and Fugue in D minor, BWV565." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/32vs6q.
Повний текст джерела實踐大學
音樂學系碩士班
101
The outbreak of French Revolution in 1789 proved the change of social class. As the extensive power and rights previously enjoyed by the clergy and nobility later being “shared” by the commoner, the life and working style of all court and church artists as well changed. It was the time of public and salon concerts. Musicians seeking no longer for the even limited positions in court sought to make livings by teaching and concertizing. As a all-too-natural result, showy pieces favoring the public taste by adapting popular songs, opera excerpts, made up a great body of repertoire of the day. The flirtation between the intentional transcriber, performer, and the mass public did tarnish the name of transcription. Virtuosity undoubtedly plays a great part of the forming and performing of a transcription work, while history also proves that transcription may help promoting less-known or rarely performed music. Mendelssohn, Schumann, Liszt and Brahms contributed their creativity and fame to promote Bach’s music, and Busoni kept the torch on. Throughout the centuries, musicians, critics, and musicians voiced their opinions upon transcription, the criteria of a worthy transcription always set upon preserving of essence of the original work. This thesis sees piano as a vehicle of transcription, and from analysis of Bach- Liszt’s Prelude and Fugue in A minor, BWV 543 and Bach- Busoni’s Toccata and Fugue in D minor, BWV 565, I will try to take a closer look of how the revolution of piano-making, Bah Revival, and the performer-composers - Liszt and Busoni as the subject, have shaped the identity of transcription.
"Three cycles of 24 preludes and fugues by Russian composers : D. Shostakovich, R. Shchedrin and S. Slonimsky." Thesis, 2003. http://hdl.handle.net/2152/12924.
Повний текст джерела