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Dissertations / Theses on the topic '19th century instruments'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

McCallum, Amy. "Le violon enchanté dans les contes littéraires québécois du XIXe siècle /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98557.

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This Master's thesis is centered on the enchanted violin and its role in six literary tales from nineteenth century Quebec. The motif is traced throughout its history and its developments in various Indo-European contexts. The importance of the enchanted violin in the oral traditions of Europe and French-Canada is underlined. The motif's literary transformation in the nineteenth century is also analyzed; authors of the tales studied were chiefly concerned with the creation of a national literature, and this affected their portrayal of the enchanted violin in several ways. Vladimir Propp's stru

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2

Rawson, Helen C. "Treasures of the University : an examination of the identification, presentation and responses to artefacts of significance at the University of St Andrews, from 1410 to the mid-19th century, with an additional consideration of the development of the portrait collection to the early 21st century." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/990.

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Since its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent. The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate C

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3

Staubermann, Klaus. "Astronomers at work : a study of the replicability of 19th century astronomical practice /." Frankfurt, M. : Deutsch, 1998. http://d-nb.info/985198958/04.

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4

Moolman, Jonathan Louis. "Key factors that contributed to the guitar developing into a solo instrument in the early 19th century." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27160.

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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.

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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 a

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6

Strauchen, Elizabeth Bradley. "Giovanni Puzzi : his life and work : a view of horn playing and musical life in England from 1817 into the Victorian era (c.1855)." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:e42fa98b-daf6-454b-9f54-2a79588d5120.

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The focus of this dissertation is a comprehensive study of the life and work of Giovanni Puzzi, nineteenth-century Britain's most celebrated virtuoso of the horn. In his hands, the horn -- hitherto largely known to England's aristocracy as an obstreperous member of the orchestra or popular form of pleasure garden entertainment became a sought-after attraction at London's most fashionable and exclusive concerts. An examination of Puzzi's activities as an orchestral player and as a soloist in a wide variety of public and private concerts chronicles his rise to celebrity and establishes his posit

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7

Abbott, Carol A. "A 21st Century Investigation of the Historical, Musical and Acoustical Contexts of a 19th Century Comic Opera, Schermania in America, Composed by Dr. Gabriel Miesse, Jr." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1303937248.

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8

Heizer, Alda Lucia. "Observar o ceu e medir a terra : instrumentos cientificos e a participação do Imperio do Brasil na Exposição de Paris de 1889." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/287043.

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Orientador : Maria Margaret Lopes<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias<br>Made available in DSpace on 2018-08-04T02:34:20Z (GMT). No. of bitstreams: 1 Heizer_AldaLucia_D.pdf: 6141642 bytes, checksum: 0983ba3a2e79903ed8c65ba8fac199e2 (MD5) Previous issue date: 2005<br>Resumo: A presente pesquisa tem por finalidade contribuir para a História das Grandes Exposições da segunda metade do século XIX, sublinhando a participação do Império do Brasil nesses grandes eventos, em particular na Exposição Universal de Paris de 1889. Consideramos possível, ao an

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9

Ramírez, Césped Pablo Esteban. "Ruperto Santa Cruz y los comienzos de la interpretación de la flauta moderna en Chile, 1856-1891: recepción, instrumento, repertorio y publicaciones." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672034.

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La tesi tracta la carrera artística del flautista, compositor, professor i publicista xilè Ruperto Santa Cruz (1838-1906) entre 1856 i 1891, en el context de la consolidació de l’espectacle concertístic i operático al país. Se centra, principalment, en la seva significació com a flautista, examinant el seu instrument, la flauta moderna, es a dir, la flauta de sistema Boehm, el seu repertori, d’arrel belcantista italiana, i la recepció de les seves actuacions pel territori de la República. A més, el treball aborda les seves obres per a piano, edicions musicals i escrits, els quals, en conjunt a

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10

Murray, Lauren Baker. "The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance Guides." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/murray%5Flauren%5Fbaker/index.htm.

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11

Canin, Xavier. "Jean-Baptiste Arban, du cornet à la baguette : un musicien français du XIXè siècle aux multiples talents." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040003.

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Rares sont les musiciens de la famille des cuivres qui ignorent de nos jours le nom de Jean-Baptiste Arban (1825-1889). Son attachement au cornet à pistons et au Conservatoire de Paris a cependant relégué dans l’ombre ses autres activités : composition, enseignement, direction d’orchestre et entrepreneuriat. Afin de les faire mieux connaître, nous avons pu réunir une importante documentation issue d’archives, publiques et privées, ainsi que de la presse de son temps. Ces documents nous ont permis de mettre en évidence l’ensemble des faits relatifs à sa vie et à son œuvre, concernant tout un pa

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12

Gallett, Kelly S. "Development and testing of a data collection instrument for boys' clothing 1867-1910 : an Oregon photographic study." Thesis, 1995. http://hdl.handle.net/1957/34897.

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The purpose of this study was to develop and test a data collection instrument that would facilitate description of the clothing of Oregon school boys 1867-1910. In addition, the researcher attempted to describe Oregon school-aged boys' clothing and determine if fashion changes occurred in Oregon boys' clothing. The researcher also determined if there were differences in the clothing of boys from rural and urban areas. The data collection instrument was developed by examining literature on children's clothing, photographs, and magazine and catalogue illustrations. In an attempt to capture dres

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13

"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.

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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。<br>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。<br>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。<br>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

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14

Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.

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Indiana University-Purdue University Indianapolis (IUPUI)<br>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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15

Michl, Jakub. "Hudební kultura v konventu alžbětinek na Novém Městě Pražském." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.

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Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to

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16

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.

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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 Introd

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