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Dissertations / Theses on the topic 'Carmen fantasy'
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1
Vieira, Victor Mesquita. "A Carmen Fantasy para contrabaixo e piano: um estudo técnico e interpretativo." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6603.
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A Carmen Fantasy for Double Bass and Piano: a technical and interpretative study. A research realized about the work written by the American composer Frank Proto (1941). This work has as one of its approaches the stylistic contribution of François Rabbath (1931) granted in the piece. It contains an analysis of the form, harmonic and melodic structures of each movement, which are presented as the main focus of this paper, and also an exposition of the opera´s excerpts used into the Fantasy. This analysis shows the jazzistcs features that the composer uses in the piece. As an aid to practice preparation, I include indications of fingerings. The work also includes a brief biography of the composer Frank Proto, the bassist François Rabbath and a synopsis of the opera Carmen, where there is a description of the scenes from the opera used into this fantasy.
A Carmen Fantasy para contrabaixo e piano: um estudo técnico e interpretativo. Uma pesquisa realizada acerca da obra escrita pelo compositor norte americano Frank Proto (1941). Este trabalho tem como uma das suas abordagens a contribuição estilística que François Rabbath (1931) concedeu na obra. Contém uma análise da forma, estrutura harmônica e melódica em cada movimento, que são apresentadas como conteúdo principal deste trabalho e um esclarecimento dos trechos da ópera utilizados na Fantasia. A análise expõe as características jazzísticas que o compositor utiliza na obra. Como ajuda na preparação do estudo, estão incluídas sugestões de dedilhados. Esta dissertação inclui também uma breve biografia do compositor Frank Proto, do contrabaixista François Rabbath e uma sinopse da ópera Carmen, onde há a descrição das cenas da ópera utilizadas nesta fantasia.
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Lee, Hyung-Tag. "A Stylistic Comparison into The Carmen Fantasy for Double Bass: Proto, Sankey, and DaXun." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468512050.
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Jones, David Kenneth. "The music of Jeffrey Lewis." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-music-of-jeffrey-lewis(b712684d-e7c0-4194-9932-e484dd60a2e0).html.
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The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.
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LIU, KUAN-CHI, and 劉冠齊. "The Violin Virtuosity of Sarasate’s Carmen Fantasy." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rcq88k.
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碩士國立臺灣藝術大學
音樂學系
108
The Romantic Period virtuoso, Pablo de Sarasate, is one of the core figures in the performance violin virtuosity. He was praise as "the end of the 19th century’s Paganini " because of his inimitable performance style, sweet silver tone and good at playing the virtuosity pieces. Sarasate began the concert tours in his youth age and life experiences made his music more dramatic tension and show personal expression. Sarasate’s several virtuosity salon pieces are full of exquisite melody and virtuosity, which enriches the music idioms and being loved by many musicians and music lovers. This thesis explores the violin virtuosity of Sarasate’s Carmen Fantasy from the perspectives of the nineteenth-century violin virtuosity. Use 19th century's standard virtuosity works – Paganini 24 Caprices and Paganini violin concerto no.1, 3rd movement as an example, analyzing the technical virtuosity of violin, from the left hand to the right hand, and the combination of both hands’ technique. After exploring the music material with opera "Carmen", lyrics meaning, background and analysis music, one can figure out how Sarasate interpreted character with virtuosity and designed different virtuosity in melody. Hope when violinist interpret this piece, could have more theatrical affect and perfection of the performance.
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Lin, Li-Chi, and 林莉綺. "An Analysis and Interpretation of Carmen Fantasy on Themes from Bizet’s Carmen by Stuart Sankey." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/83794875411533682293.
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碩士國立臺南藝術大學
音樂學系碩士班
102
Stuart Sankey (1927- 2000) is a performer, educator, and composer in the 20th century. Sankey played very important role in the development of double bass in America. He has direct and indirect influences on famous double bass musicians. Carmen Fantasy on Themes from Bizet’s Carmen is one of his great works. It was dedicated to his student Gary Karr (b. 1941) who is an American double bass virtuoso. The study of the thesis is divided into four parts. The first part is to discuss the art of Carmen from different and related aspects. The second part is about the introduction of Sankey and Karr’s musical life and background. The third part is the analysis of the association between music and opera, in-depth analysis of the application of the musical material, and the interpretation of musical style and technique. The fourth part shows the comparison of version between violinist Waxman and Sankey in order to explore and understand the differences between the two. To be able to perform the song musically and dramatically, it’s rendering technique can be a considerable challenge. I hope the research of this thesis could inspire double bass performer with new ideas, hence improving their overall quality of performance.
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Huang, Yu-Shen, and 黃郁盛. "An Analysis and Interpretation of Carmen Fantasy Brilliantby Jeno Hubay." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/c9j2f9.
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Chia, Yi Hsiung, and 熊家宜. "The transplanted erhu repertoire from the violin music - Sarasate's Carmen Fantasy." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/60266165662892328191.
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碩士國立臺灣師範大學
民族音樂研究所
98
Because of the influence of Western culture and violin music, erhu has transformed from an accompanying instrument to a solo instrument. Over time, the main portion of the transplanted erhu repertoire has come from the violin works. For this reason, the thesis focuses on the violin-based repertoire for erhu and presents Sarasate’s Carmen Fantasy, arranged by George Kao, as the major example to demonstrate the phenomenon and means of transplantation. To begin with the development and history of transplanting violin pieces, the writer compares the differences between an erhu and a violin in the culture background, the history of development, the physic of both instruments, and the technique of performances. Moreover, the methods of transplantation are closely analyzed. To relate with personal experiences of performing the “Carmen Fantasy”, the writer covers both theoretical and empirical points of view. To summarize, the violin music had impacted the erhu world positively in several ways, such as enriching the musical language and challenging the performing technique. However, in the journey of modernization, all the erhuists should seek not only in technical perfection but also in fully understanding of their instrument for achieving the higher level of performing arts.
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Chang, Hsin-yu, and 張心瑜. "The Analysis and Comparison of “Carmen-Fantasy for Flute and Piano” and “La Traviata-Fantasy for Flute and Piano”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/f2378g.
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碩士國立臺中教育大學
音樂學系碩士班
102
Abstract In this thesis, we mainly focus on the two famous Fantasy for flute, "Carmen" and "La Traviata ". Both of the composers capture the appealing arias in the opera, and use the variation techniques to completely show the beauty of tone and the gorgeous techniques of flute. They finally composed their own Fantasy for flute which are different from the opera. Besides, to understand the development of Fantasy, we also analyze the researches about it. The thesis is divided into six chapters. In Chapter I, we will give an introduction to the motivation, purpose, method, scope of studies or literature, and describe the structure and direction of this thesis. In Chapter II, we will display the evolution of compositional style and characteristics of Fantasy for flute in different periods. Chapter III focuses on the architecture and the analysis of Carmen Fantasy for Flute. Chapter IV explains the song structure and the analysis of La Traviata flute Fantasy. We briefly introduce the two operas and two composers. Moreover, we also analyze and research the interpretation of these two Fantasy for flute. Chapter V analyzes these two Fantasy according to the opera materials and the piano interlude and the variation technique. Then, we further discuss how the composers adapted an opera for the gorgeous and charming flute Fantasy. Finally, Chapter VI summarizes the content of each chapter and the conclusions of thesis in the hope of making a contribution to the flute performance. Key word: La Traviata, Carmen, Fantasy
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Park, Sue-jean. "The concept of fantasie in two versions of the Carmen fantasie : Sarasate and Waxman." Thesis, 2006. http://hdl.handle.net/2152/2600.
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Liu, Ya-Wei, and 劉雅薇. "A Study and Interpretation of Frank Proto “Carmen Fantasy for Double Bass and Piano”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/23446084964721542118.
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Huang, Tzu-Hsuan, and 黃姿旋. "Explore How the Opera Material for Violin Is Composed and Performed- Using Examples of " Carmen Fantasy" by Sarasate." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/80808438544497481276.
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碩士東吳大學
音樂學系
101
Carmen, the opera which was composed by George Bizet (1839-1875) is a rearrangement of a Novel written by Prosper Merimee (1803-187). The story took place in Sevilla Italy, illustrating the love and hate of the Gipsy lady Carmen, officer José and the matador Escamillo. The use of popular melody writings and realistic plot made this opera the most popular one in music history; instrument solos, Ballet and other genre of rearrangements were brought by other composers to audiences, and the most famous one is the Carmen Fantasie, composed by Pablo de Sarasate (1844-1908). The music in the opera was enchanted with dense sensations and strong rhythms; the lead Actress is originally a mezzo soprano, which makes it a challenge for the violin to perform the warm and magnetic registers of a mezzo soprano, and the virtuoso skills of the performing in the meantime. Nevertheless, Sarasate successfully merged the orchestration into violin solo, combining different sensations with high level techniques into various sections, fascinating the author with such fantastic composition. This thesis starts with analysis of structure, the selection of sections and the use of techniques, therefore leads to a deeper discussion, to have a better understanding and precise performing towards various music details.
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Kuo, Chi-wen, and 郭己溫. "Violin Fantasy of Opera "Carmen" ─ The Comparison of and the Performance Practice Issue between Sarasate and Waxmans' Versions / Chi-wen Kuo Violin Recital." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/38731764365950975739.
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碩士東吳大學
音樂學系
93
**Abstract Because of the melodic songs and the exotic dance music, "Carmen," one of Georges Bizet's famous opera, becomes the most favorite to many musicians, to arrange it for various instrumental versions. According to the difference of two composers' music backgrond (Sarasate and Waxman), the sections chose from "Carmen," and the structural analysis of the fantasies, the author takes the two well-known Violin Carmen Fantasy for example,to discuss how the composers arrange the opera to thevirtuosic and charming violin piece. At Last, the author sums up some violin techniques from these two show pieces.She also combines some traditional practicing ways with her experiences to provide various references. **Program J.S. Bach:"Ciaccona" from Partita II for violin solo BWV 1004 in d minor Ludwig ven Beethoven: Sonata No.7 in c minor, Op.30 No.2 for piano and violin Eugene Ysaye: Sonata Op.27 No.3 in d minor "Ballade" Pablo de Sarasate: Carmen Fantasy, Op.25
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Cheng-Hun, Luo, and 羅正楎. "An illustration of the playing techniques of Modern Yangqin：“Through the investigation of dragon boat”、“Lin Chong’s Fleeing in the night” and “Carmen fantasy”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/21905486813192902397.
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碩士中國文化大學
音樂學系碩士班中國音樂組
98
This article is mainly to give a comprehensive investigation of the skills to play the modern Yangqin. It researches on the techniques of three musical compositions: “Through the investigation of dragon boat”, “Lin Chong’s Fleeing in the Night ” and“Carmen Fantasy”. The researcher first discusses the development of the traditional schools of Yangqin as well as its representative playing skills, since the forms of performance of these schools affect modern performance skills. The playing skills of Yangqin have been divided into three types in modern times. While with the reference to the current Yangqin master-Professor Xiang Zuhua’s Classification of Ten Skills and based on the playing skills of the same type, the author proposes to divide the playing skills of Yangqin into nine classifications. Then the author applied three musical compositions, namely, “Through the investigation of dragon boat”, “Lin Chong’s Fleeing in the Night” and “Carmen Fantasy” to analyze the compositions and using of skills, also bring about some knowledge through playing experience. At last, the author will review this article and make a simple analysis of the relationship between the playing skills of Yangqin and music writing, also propose the future development trend and prospect of Yangqin.
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Lin, Yi-Chun, and 林怡君. "The Analysis and Interpretation of Sarasate’s “Carman Fantasy”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/kq3a27.
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HUANG, YU-CHIAO, and 黃禹樵. "Dialogue with “Loser” : Youth insurance salesman’s career, fantasy and identity." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/t392jm.
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WU, CHIA-CHIN, and 吳佳親. "An Analysis of Yangqin Compositions of “Carmen Fantasia” and “Hutsul Diptych”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ssh5s4.
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碩士國立臺灣藝術大學
中國音樂學系
104
Yangqin, unlike Pipa or Zheng, showed up relatively late in Chinese history. This leads Yangqin to have limited original compositions and transplant composition becomes a common form of Yangqin creations. During the transplanting process, how to transplant composition to Yangqin may differ due to the different characteristic of the original instrument of the composition. In this study, it uses two transplant pieces, "Carmen Fantasy" (original in Violin) and "Hutsul Diptych"(original in Cimbalom) to analyze how to adapt pieces of other instruments for Yangqin. This study compares the original edition and transplant edition through style, structure, and feature. It also elaborates the performing techniques in these two transplant pieces which are different from traditional one. Transplanting compositions could be a way to improve the development of Yangqin. Transplanted works not only expands the number of Yangqin compositions and developing new performing techniques, also affects the next generation’s composing style of Yangqin. By transplanting pieces of disparate instruments and music style could largely enrich the performing techniques of Yangqin.