Дисертації з теми "Vocal music – 19th century – History and criticism"
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1
Peter, Timothy Layne. "Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186414.
Повний текст джерелаАнотація:
This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non-emotional approach with the evangelist recitatives. These new approaches found in Critica Musica, derived from Italian opera in connection with Mattheson's writings, are in comparison to the musical devices in recitatives used by Mattheson's predecessors Schutz, Bernhard, Theile, and Keiser. The results of these comparisons show a natural progression of stylistic changes in recitatives in passion settings up to Mattheson's years at the Domkirche in Hamburg.
2
Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
Повний текст джерела
3
Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
Повний текст джерелаАнотація:
In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
4
Deruchie, Andrew. "The French symphony at the fin de siècle style, culture, and the symphonic tradition /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115596.
Повний текст джерелаАнотація:
This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France.Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed.
My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.
5
Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.
Повний текст джерелаАнотація:
This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.School of Music
6
Chung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.
Повний текст джерелаАнотація:
Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.
7
Mulvey, Margaret N. "The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278639/.
Повний текст джерелаАнотація:
This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.
8
Schuppener, James Gregory. "Felix Mendelssohn-Bartholdy, director of music for the Berlin Court: Influences upon his unaccompanied compositions written for the Berlin "Domchor"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185735.
Повний текст джерелаАнотація:
This study discusses Felix Mendelssohn-Bartholdy's appointment to the Prussian Court of King Friedrich Wilhelm IV, Mendelssohn's relationship with the Court (both personal and professional) and the numerous difficulties encountered with this appointment. In addition, Mendelssohn's musical responsibilities and personal feelings toward the cities of Leipzig and Berlin, Berlin's choral traditions (including a brief history of the Berlin Domchor) will also be discussed. Mendelssohn's op. 78, op. 79 and Die deutsche Liturgie written for the Berlin Domchor reflect the sometimes competing demands of the traditional liturgical genres (e.g. Masses, psalms, motets), which are more "objective" in nature and the far more "subjective" elements inherent in the Romantic "ideal" of expression. This study deals exclusively with the unaccompanied choral compositions written for the Berlin Domchor with particular emphasis given to op. 78 - Drei Psalmen, and op. 79 - Sechs Spruche.
9
Reilly, Olivia. "An epicure in sound : Samuel Taylor Coleridge and music." Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.719835.
Повний текст джерела
10
Clayden, Mark John. "Music, timbre, colour in fin-de-Siècle Vienna : Zemlinsky, Schreker, Schoenberg." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:73c4d92f-5754-43d0-b07d-31975ad0539c.
Повний текст джерелаАнотація:
Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.
11
Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.
Повний текст джерела
12
Lewis, Michael E. (Michael Edward) 1952. "Solo Trombone Performances at the Gewandhaus in the Nineteenth Century: a Lecture Recital, Together with Three Recitals of Selected Works of G. Jacobs, S. Sulek, E. Bloch, C. Wagenseil, W. Ross, G. Pergolesi, T. George, F. Hidas, J. Albrechtsberger and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331410/.
Повний текст джерелаАнотація:
This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years.
The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung.
The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.
13
Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.
Повний текст джерелаАнотація:
Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.
14
Mainente, Renato Aurélio. "Música e civilização : a atividade musical no Rio de Janeiro oitocentista (1808-1863) /." Franca : [s.n.], 2012. http://hdl.handle.net/11449/93236.
Повний текст джерелаАнотація:
Orientador: Jean Marcel Carvalho FrançaBanca: Paulo Knauss
Banca: José Adriano Fenerick
Resumo: No decorrer do século XIX, a música e o teatro lírico ocuparam lugar de destaque no cenário musical do Rio de Janeiro. Após o desembarque da corte portuguesa, em 1808, a cidade assistiu a inauguração de novos teatros e passou a receber a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com óperas e peças musicais de sucesso na Europa. Embora apresentando um leve declínio entre as décadas de 30 e 40 do oitocentos, a atividade musical continuou ocupando um espaço privilegiado na sociedade fluminense, figurando também nas páginas de diversos periódicos do período. Em tais textos, os escritores e colunistas abordavam os mais variados relacionados à música, desde a programação teatral até a descrição do ambiente dos teatros e comportamento dos espectadores. Entre as principais tópicas, estava a preocupação com o desenvolvimento de uma música de inspiração nacionalista, ideal que culminou com a fundação da Imperial Academia de Música e Ópera Nacional em 1857. No âmbito dessa instituição, um número significativo de óperas nacionais foi levada aos palcos da cidade. É objetivo desse trabalho, portanto, analisar os artigos e crônicas acerca da música publicados em jornais e revistas oitocentistas, juntamente com os libretos de óperas nacionais produzidas no período, buscando identificar os principais tópicos presentes nestes textos; isto é, identificar os principais critérios de análise e expectativas dos homens de cultura do período em relação à atividade musica, e, principalmente, à produção de uma música de inspiração nacionalista
Abstract: During the nineteenth century, music and lyric theater occupied a prominent place in the music scene in Rio de Janeiro. After the landing of the Portuguese court in 1808, the city saw the opening of new theaters and went on to receive the presence of foreign musicians and opera companies, providing a contact with opera and musical theater success in Europe. Although showing a slight decline between 30 and 40 decades of the eighteenth hundred, musical activity continued to occupy a privileged place in fluminense society, also appearing in the pages of several journals of the period. In such texts, the writers and columnists addressed various aspects related to music, since programming of theaters even description of the theatrical environment and viewing behavior. Among the main topics was the concern with the development of a music-inspired nationalist ideal, that culminated in the founding of the Imperial Academy of Music and National Opera in 1857. Within this institution, a significant number of national opera was set up to the stage of the city. It is the aim of this work, therefore, to examine the articles and chronicles about the music published in nineteenth-century newspapers and magazines, along with the librettos of national operas produced in the period, seeking to identify the main topics contained in these texts; that is, identify the mains rules for analysis and expectations of intellectual of the period in relation to musical activities, and especially the production of a nationalistic music
Mestre
15
Mainente, Renato Aurélio [UNESP]. "Música e civilização: a atividade musical no Rio de Janeiro oitocentista (1808-1863)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93236.
Повний текст джерелаАнотація:
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No decorrer do século XIX, a música e o teatro lírico ocuparam lugar de destaque no cenário musical do Rio de Janeiro. Após o desembarque da corte portuguesa, em 1808, a cidade assistiu a inauguração de novos teatros e passou a receber a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com óperas e peças musicais de sucesso na Europa. Embora apresentando um leve declínio entre as décadas de 30 e 40 do oitocentos, a atividade musical continuou ocupando um espaço privilegiado na sociedade fluminense, figurando também nas páginas de diversos periódicos do período. Em tais textos, os escritores e colunistas abordavam os mais variados relacionados à música, desde a programação teatral até a descrição do ambiente dos teatros e comportamento dos espectadores. Entre as principais tópicas, estava a preocupação com o desenvolvimento de uma música de inspiração nacionalista, ideal que culminou com a fundação da Imperial Academia de Música e Ópera Nacional em 1857. No âmbito dessa instituição, um número significativo de óperas nacionais foi levada aos palcos da cidade. É objetivo desse trabalho, portanto, analisar os artigos e crônicas acerca da música publicados em jornais e revistas oitocentistas, juntamente com os libretos de óperas nacionais produzidas no período, buscando identificar os principais tópicos presentes nestes textos; isto é, identificar os principais critérios de análise e expectativas dos homens de cultura do período em relação à atividade musica, e, principalmente, à produção de uma música de inspiração nacionalista
During the nineteenth century, music and lyric theater occupied a prominent place in the music scene in Rio de Janeiro. After the landing of the Portuguese court in 1808, the city saw the opening of new theaters and went on to receive the presence of foreign musicians and opera companies, providing a contact with opera and musical theater success in Europe. Although showing a slight decline between 30 and 40 decades of the eighteenth hundred, musical activity continued to occupy a privileged place in fluminense society, also appearing in the pages of several journals of the period. In such texts, the writers and columnists addressed various aspects related to music, since programming of theaters even description of the theatrical environment and viewing behavior. Among the main topics was the concern with the development of a music-inspired nationalist ideal, that culminated in the founding of the Imperial Academy of Music and National Opera in 1857. Within this institution, a significant number of national opera was set up to the stage of the city. It is the aim of this work, therefore, to examine the articles and chronicles about the music published in nineteenth-century newspapers and magazines, along with the librettos of national operas produced in the period, seeking to identify the main topics contained in these texts; that is, identify the mains rules for analysis and expectations of intellectual of the period in relation to musical activities, and especially the production of a nationalistic music
16
Carnes, Tara Barker. "Hartley Wood Day: Inventor of Numeral Notation and Adversary of Lowell Mason." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500655/.
Повний текст джерелаАнотація:
Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.
17
Ballman, Christine. "Les oeuvres de Lassus mises en tablature pour le luth: catalogue - transcriptions - analyse." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211492.
Повний текст джерела
18
Gamso, Nancy M. (Nancy Margaret). "Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz, Roussel, Albinoni, Weber, Milhaud, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279129/.
Повний текст джерелаАнотація:
The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.
19
Wolfinbarger, Steve M. "The Nineteenth-Century German Tradition of Solo Trombone Playing: A Lecture Recital, Together with Three Recitals of Selected Works of E. Bozza, W. Hartley, A. Frackenpohl, A. Pryor. G. Frescobaldi. L. Grondahl, P. Bonneau and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331705/.
Повний текст джерелаАнотація:
This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) .
Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.
20
Watson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.
Повний текст джерелаАнотація:
This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).
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Falterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.
Повний текст джерелаАнотація:
One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.
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Monroe, Jonathan. "A Selection of Nineteenth Century Trumpet Literature for Low F Trumpet: A Performance Edition of F.G.A. Dauverné's Variations op. 3 and Amilcare Ponchielli's Concerto per Tromba e Banda op. 123." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984202/.
Повний текст джерелаАнотація:
This dissertation presents a performance guide of two solos for early valved trumpet, as well as an appraisal of their historical significance. The first of these solos is F. G. A. Dauverné's Variations pour trompette à pistons avec accompagnement de Piano-forte, op. 3 (1833). The second solo examined is Amilcare Ponchielli's Concerto per Tromba e Banda, op. 123 (1866). Although Ponchielli's work dates from only the middle of the century, by time of its composition the valved trumpet had already been developed enough to have attained true artistic value. This dissertation provides evidence concerning the evolution of nineteenth solo literature for the Romantic trumpet by means of formal analysis in regard to form, harmony, and historical performance practice.
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Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.
Повний текст джерелаАнотація:
Indiana University-Purdue University Indianapolis (IUPUI)This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.
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Buck, Allison. "An investigation of the influence of central Italian folk music on composers' use of bassoon in select symphonic and large chamber works of the nineteenth century." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738074.
Повний текст джерелаАнотація:
This study has investigated the influence of Central Italian folk music in select
compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean
Sibelius. Through the titles of these pieces, one can infer that they were influenced by the
composer living in Italy, or visiting, on holiday. This study also includes a brief history of
the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of
the more modern 19th-century genre. A review of the evolution of the state of
ethnomusicology in Italy, including discussion of art and folk-music instruments, poetry,
carnevale, and processions within the region of Italy is included. Further, I provide
information on tonal and instrumental characteristics and specific folk dances to aid in
the investigation of the treatment of folk melodies within 19th-century pieces. The result
of this research not only provides a more accurate interpretation of stylistic issues when
19th-century works containing Italian folk-music attributes are performed, but also the
knowledge that the title of a piece does not necessarily indicate a musical significance.
Some works exhibit a direct musical influence while others are “Italian” in name only.School of Music
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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music / David William Forward." Thesis, 1993. http://hdl.handle.net/2440/21108.
Повний текст джерела
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Ethier, Glen Edward. "A methodology for the analysis of melodic accent in Renaissance sacred polyphony." Thesis, 1996. http://hdl.handle.net/2429/4836.
Повний текст джерелаАнотація:
Modern scholars have suggested various approaches to the
analysis of the pretonal repertory. However, if we consider
the question of how the individual voice parts interact in a
Renaissance polyphonic composition to create coherence for the
movement as a whole, we find that there are no tools available
to undertake such a task. We may be able to speak generally
of the arrival of certain moments as relatively accented or
unaccented; we may even be able to dissect a complete melodic
line with some segmentation process to highlight motivic
structure, phrase development or contour-articulated pitch
events. But there are no analytic strategies available yet
which are capable of disclosing the structures of independent
voice parts and their interaction as timepoint-accenting
elements capable of creating formal, rhythmic and pitch-class
patterns. This study outlines a methodology that has been
developed to deal with these specific issues.
The analytic strategy is based on the perception of
accents in individual voices of polyphonic works. The types
of accents germane to Renaissance polyphony include
durational, leap, contour, cadential and beginning-accents.
The study proposes a simple, bipartite classification of
accentual strength—strong or weak. Each voice part in a work
is then analyzed, with every pitch attack represented as
strongly or weakly accented through special notation developed
for the analysis.
The methodology affords a picture of the most strongly-
accented timepoints in the individual melodies of three- and
four-voice cantus firmus masses of the mid- to late fifteenth
century. The relative strengths of these accents, along with
their synchronization in the multi-voice aggregate, are
disclosed through the notation. After renotating scores with
this special notational symbology, we extract points of
coincident strong accents in three or more voices to create
accent profiles for each section of a movement. We then
compare profiles of same-texted works by different composers
in order to disclose normative formal and pitch-class
procedures in some Renaissance compositions.
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Douglas, Barbara Jo. "Musicology or Musikwissenschaft? A Study of the Work of Carl Dahlhaus." Thesis, 1991. http://hdl.handle.net/10756/288462.
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Gavito, Cory Michael. "The alfabeto song in print, 1610-ca. 1665 : Neopolitan roots, Roman codification, and "Il gusto popolare" /." Thesis, 2006. http://www.lib.utexas.edu/etd/d/2006/gavitoc11533/gavitoc11533.pdf#page=3.
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"Fantasy style and generic mixture in Hummel's keyboard music: towards a reappraisal of a neglected musician's contribution to the development of nineteenth-century musical style." 2012. http://library.cuhk.edu.hk/record=b5549481.
Повний текст джерелаАнотація:
胡麥爾(1778-1837)是一位奧地利鋼琴家、作曲家、教師及指揮家，生前與貝 多芬齊名，被譽爲是當時歐洲最重要的鋼琴作曲家之一。可是近代的學者和聽眾對他的評價甚低，認爲他的音樂作品守舊、媚俗、不能登大雅之堂。本文借鑒胡麥爾創作時期的文化背景，重新評價這位被忽視的音樂家對於開 發十九世紀鋼琴音樂所作出的貢獻。十八世紀後期中產階級的興起令音樂會 不斷增加，鋼琴演奏家不但成爲音樂會中的主要角色，而且他們所演奏的 「流行音樂」對於後世鋼琴技巧及音樂創作的發展，有舉足輕重的影響。
胡麥爾的鋼琴作品顯露出嶄新的作曲手法，當中包括較自由的轉調和曲式結 構，以及特別的音形法等，均源自音樂會中常出現的即興演奏，亦即「幻想 曲風格」。胡麥爾在正統器樂體裁的語境中引入幻想曲的技法，展示出流行 曲風格與正統音樂的結合，並開創了混合體裁的先河。其中，幻想曲與奏鳴 曲的混合體裁，對於後世的浪漫派作曲家如簫邦和舒曼等的創作模式尤有啓發。
Johann Nepomuk Hummel (1778-1837) was an Austrian pianist, composer,teacher, and conductor who was described in his time as one of Europe's greatestpianist-composers. However, his music has been neglected and underestimated inmodem times, and is not considered to have any lasting influence on later compositional developments in the 19th century.
The present study aims to demonstrate that, though identified as a conservative composer, Hummel played an important transitional role in the evolution between Classical and Romantic styles. I argue that the post-classicalpianism that he cultivated presaged many significant stylistic trends of later composers, and that these were stimulated by the rise of public concerts. The demand for virtuosic performances by middle-class concert audiences led pianistcomposers like Hummel to explore new modes of improvisation, which in turn had a profound impact not only on keyboard technique, but also on compositional practice.
A comprehensive study of Hummel's piano music reveals a new compositional practice featuring juxtaposition of different figurations, freedom of modulation, and new formal structures. The fantasy style derived from concert 11 improvisations came to be incorporated in different keyboard genres, resulting in generic mixture. In particular, the hybrid fantasy-sonata foreshadowed the later practice of Schumann and Chopin, and contributed towards the merging of serious and popular styles in Romantic piano music.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Kam, Cheok Weng.
"December 2011."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 160-174).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
List of Figures --- p.vii
List of Music Examples --- p.ix
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Cultural Contexts for Hummel's Post-Classical Keyboard Style
The Rise of Public Concerts --- p.10
The Development of Piano Music --- p.11
Technical Innovations in Post-Classical Pianism --- p.12
The Viennese Piano Style --- p.17
The English Piano Style --- p.21
Hummel's Keyboard Writing: Viennese Features --- p.28
The Influence of the English Style --- p.31
Legato Touch and the Chopin Style --- p.36
Technical Innovations --- p.40
Chapter Chapter Three --- Generic Transformation in Hummel's Piano Sonatas --- p.48
The Keyboard Sonata in Hummel' s Time --- p.51
Changing Approaches to Sonata Form --- p.56
Hummel's Early Piano Sonatas --- p.61
Sonata in F minor, Op. 20 --- p.67
Sonata in C major, Op. 38 --- p.77
Sonata in F-sharp minor, Op. 81 --- p.82
Sonata in D major, Op. 106 --- p.93
Chapter Chapter 4 --- The Evolution of Fantasias and Generic Innovations --- p.107
Improvisation and Fantasy Style in the Eighteenth Century --- p.108
The Eighteenth-Century Free Fantasia --- p.111
Changing Conceptions of the Fantasy From C.P.E. Bach to Mozart --- p.118
Changing Role of Improvisation in Performance Practice --- p.124
From Harmonic Thinking to Thematic Thinking --- p.129
Hurnmel's Fantasy Op. 18: The Fantasy-Sonata Hybrid --- p.134
Chapter Chapter 5 --- Other Types of Generic Mixture Prompted by Fantasy Style --- p.141
Generic Mixture with Theme and Variations --- p.142
Caprices --- p.148
Potpourri --- p.150
Rondo --- p.152
Chapter Chapter 6 --- Conclusion --- p.156
Bibliography --- p.160
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BARBUSCIA, Aurélie. "Rossini et la "Restauration" de la grandeur musicale dans la France des années 1820." Doctoral thesis, 2013. http://hdl.handle.net/1814/28028.
Повний текст джерелаАнотація:
Defence date: 5 June 2013Examining Board: Professor Antonella Romano, EUI (Directeur de thèse) Professor Esteban Buch, EHESS Professor Danièle Pistone, Université Paris Sorbonne-Paris IV Professor Lucy Riall, EUI Professor Sophie-Anne Leterrier, Université d'Artois
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This thesis investigates the changing conditions in the European art market after the Congress of Vienna (1815). It focuses mainly on the socio-professional development of the Italian composer Gioachino Rossini and analyses his first visit to Paris in 1823 from a social, cultural and political point of view. It redefines the issue of grandeur in the context of urban renewal (Paris as a capital city) and a political regime in search of legitimacy (the Restoration period). Rossini's first visit to Paris is examined in reference to his life experiences as well as the changing geopolitical face of Europe at the time. First, a micro-analysis of his stay in Paris explores the construction of this symbolic event and makes a prosopography of the various institutional, political and artistic actors involved. Second, this thesis examines the reasons for Rossini's occupation of the French cultural arena. France's cultural policies are highlighted by concentrating on the French Restoration government's strategies in bringing Rossini to Paris. This thesis also examines the other side of the coin, namely how market logic was established in theatrical productions and amongst authors and institutions, and how this marked the progressive dismantling of the privilege system in Parisian theatres. To do so, the thesis analyses the play: Rossini à Paris ou le grand dîner, the Scribe's libretto of which describes a banquet given in Rossini's honor during his stay in Paris. Third, the debates connected to Rossini's visit reveals how musical "traditions" are radicalized around a national paradigm. Crossing varied and original sources (correspondences, scores, play librettos, newspapers, institutional sources), this thesis contributes significantly to the study of the relationship between the artist, the power and their representations.
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Hwang, Hyunyoung. "A musical discussion and analysis of romance sans paroles by three French composers : Charles-Francois Gounod, Camille Saint-Saens and Gabriel Faure." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738934.
Повний текст джерелаАнотація:
Contained in this study is a musical discussion and analysis of seven Romance Sans Paroles (song without words), written by three French composers, Charles-François Gounod, Camille Saint-Saëns, and Gabriel Fauré.
The Romance Sans Parole genre seems to be quite unknown in the piano field; as a result, there are few secondary sources available. By immersing myself in these scores, I sought to discover their musical value and compositional nuance and excellence. I thoroughly investigated each composer’s unique treatment of melody, harmony, rhythm, texture, and form.
Chapter One includes an Introduction, brief biographical information on each composer, the Need for the Study, the Purpose of the Study, a Review of Literature, and a Methodology. Chapters Two, Three, and Four consist of a musical analysis and discussion of the seven Romance Sans Paroles. Chapter Five offers a Conclusion and Suggestions for Further Study.
I believe my dissertation will enhance the understanding and appreciation of this art form.School of Music
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Wernicke, Rose. "The Farmland Opera House : culture, identity, and the corn contest." Thesis, 2013. http://hdl.handle.net/1805/4663.
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