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Dissertations / Theses on the topic 'Castelnuovo-Tedesco, Mario'

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Published: 4 June 2021

Last updated: 29 January 2023

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1

Worthington, Oliver Wendell. "An analysis and investigation of Coplas by Mario Castelnuovo-Tedesco." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008255.

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2

Abdalla, Thiago Vasconcelos. "O estilo musical em Les guitares bien tempérées OP.199 de Mario Castelnuovo-Tedesco." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-12032013-153927/.

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Este trabalho tem como objetivo compreender os processos composicionais contidos no Op. 199, Les Guitares bien Tempérés, de Mario Castelnuovo-Tedesco (1895-1968). Este ciclo de 24 prelúdios e fugas é a maior obra original para duo de violões e, vindo de um compositor não-violonista, contextualizam-se, aqui, pontos importantes de sua formação, de seus intérpretes e de seu período. Algumas perguntas se destacam no percurso da pesquisa: quem foi este compositor? Quais foram os fatos mais marcantes de sua formação musical? Por que esta obra é tão importante para a formação de duo de violões? Qual é o perfil bibliográfico que se encontra para a produção deste trabalho? E, principalmente, como se pode descrever o estilo desta obra? Fundamentando-se em referenciais teórico-metodológicos (STEBLIN, 1982; LARUE, 1992; OTERO, 1999; entre outros), o trabalho parte dos sentidos tradicionais do Prelúdio e da Fuga e de como o compositor se relaciona com eles. Mostra como resultados da pesquisa os parâmetros musicais, que permeiam a obra como um todo (macroestrutura) e dialogam entre as partes (média e microestrutura), entrecruzando os elementos contribuintes (som, harmonia, melodia e ritmo) e outros desdobramentos (tonalidades, texturas, intensidades, harmonias, melodias, andamentos, expressões e afetos/humores). Desse modo, a pesquisa levou à compressão de diversos processos composicionais contidos na obra.
The aim of this work is to understand the compositional techniques employed by Mario Castelnuovo-Tedesco (1895-1968) in his Op. 199, Les Guitares bien Tempérés. This cycle of 24 Preludes and Fugues for two guitars is known as the largest original work for guitar duo and, coming from a non-guitarist composer, elucidates various aspects of his background and the performance of his works. Some of the most important questions addressed include: Who is Castelnuovo-Tedesco? What were the highlights of his musical training? Why is this work so important to the guitar duo ensemble? What kind of bibliographic references are available on this work? And, most importantly, how can the style of this work be described? This work in based on theoretical-methodological references (STEBLIN, 1982; LARUE, 1992; OTERO, 1999; among others), it begins with a discussion of the composer\'s approach to the traditional definitions of Prelude and Fugue. The results of this research highlight the musical guidelines that permeate the work both as a whole (macrostructure) and in parts (middle and microstructure), crossing contributing elements (sound, harmony, melody and rhythm), and other details (keys, textures, dynamics, harmonies, tempos, expressions and affections/humor). Thus, this research has led to the understanding of multiple compositional processes contained in the work.

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3

Rocha, Júnior Atilio Goltardo da [UNESP]. "A elaboração do discurso no Romancero Gitano de Castelnuovo-Tedesco / Lorca." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/131846.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
No presente trabalho buscamos refletir a respeito de alguns dos diversos procedimentos extramusicais e interdisciplinares envolvidos na confecção da obra musical Romancero Gitano, de Autoria de Mario Castelnuovo-Tedesco com textos de Federico Garcia Lorca. Para o cumprimento desta tarefa foram considerados procedimentos como retórica e word-painting, bem como levantamento de dados biográficos de compositor e poeta, análises técnico -musicais de cada um dos movimentos da obra e leituras poéticas dos textos
In the present work our aim was to reflect on some of the various extra musical and interdisciplinary procedures involved in the confection of the musical work Romancero Gitano, Mario Castelnuovo-Tedesco's authorship, with texts by Federico Garcia Lorca. To achieve this aim we have considered procedures such as rhetoric and word-painting, as well as research on biographical data about composer and poet, technical -musical analysis of each one of the movements of the work and poetical readings of the texts

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4

Lee, Chris. "Establishing Editorial Principles to Create a Performance Edition of Selections From Appunti Op 210 By Mario Castelnuovo-tedesco." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115108/.

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This paper examined editorial methods used in producing published versions of the music of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established some editorial principles to create a performance edition of five movements from book two of Castelnuovo-Tedesco’s Appunti op. 210. This paper includes a discussion of the sources and methods used in establishing editorial criteria. at the request of the Milanese guitarist Ruggero Chiesa (1933-1993), Castelnuovo-Tedesco set out to create a collection of didactic pieces for young guitarists. the pieces were to be collaboratively edited and fingered by Chiesa, and then given final approval by the composer. Unfortunately, the composer died before finishing the work. the pieces and sketches that survive exist in four volumes published by the Italian house, Suvini Zerboni, containing the pieces that Chiesa edited with the approval of Castelnuovo-Tedesco. the published edition also includes unedited pieces that did not undergo the collaborative process. with the goal of maintaining an unadulterated portrayal of the composer’s intentions, Chiesa presented these pieces as they appear in the manuscript. Much of the music is unidiomatic and either impossible or highly impractical to play. My study established some editorial principles for use in creating a performance edition of this work. the edition includes my engraving of the original unedited manuscript as well as ossia measures containing solutions to performance problems. the suggested solutions balance the perception of the composer’s intentions, established editorial practices, and idiomatic concerns to creating a playable edition.

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5

DeLong, Noah David. "Between two worlds : Mario Castelnuovo-Tedesco, his journey from Italy to America, and his oratorio "The book of Ruth"." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1963.

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The Florentine Jew Mario Castelnuovo-Tedesco (1895-1968), garnered international acclaim as a composer and performer in the 1920s and 1930s. He studied composition with Ildebrando Pizzetti and became associated with the International Society for Contemporary Music. Castelnuovo-Tedesco received particular attention for his operas, winning the Concorso Lirico Nazionale in 1925 for La Mandragola, and his concertos, with prominent performances by Jascha Heifetz and Andrés Segovia. During the 1930s, Castelnuovo-Tedesco and his family were negatively affected by the Fascist government’s racial laws restricting the rights of Italian Jews. In 1938, after public performances of his music were canceled and his children were forbidden from attending public school, Castelnuovo-Tedesco and his wife Clara decided to immigrate to the United States. They sailed for the U.S. in 1939, settled in Beverly Hills, and gained citizenship in 1946. In 1949, at the end of that turbulent decade, Castelnuovo-Tedesco completed his first oratorio, The Book of Ruth. This study features a new edition of The Book of Ruth, the first complete publication of the work in full score. The edition is accompanied by a musical analysis that examines melody, harmony, rhythm, text setting, vocal texture, orchestration, and formal design in The Book of Ruth, comparing it with his other works. Furthermore, selected passages from Castelnuovo-Tedesco’s autobiography, newly translated into English, provide insight into the eventful decade preceding the work’s composition and uncover several personal connections that exist between Castelnuovo-Tedesco and the story of The Book of Ruth.

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6

Lopes, André Castilho. "A problemática da escrita musical para guitarra, na obra de Mario Castelnuovo-Tedesco: análise editorial da Sonata op. 77 (Omaggio a Boccherini) e proposta de edição e digitação da Suite op. 133." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/16424.

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Mario Castelnuovo-Tedesco foi um dos mais produtivos e versáteis compositores do século XX. Entre óperas, oratórias, balés, música para filmes, coro, harpa, piano, órgão, violino, viola e violoncelo, deixou mais de cem obras escritas para guitarra solo, incentivado, essencialmente, pela figura de Andrés Segovia. Na presente monografia, iremos debruçar a nossa pesquisa na análise editorial da Sonata op.77 (Omaggio a Boccherini), a partir da edição de Andrés Segovia (Schott, 1935), Angelo Gilardino (Bèrben, 2007) e do próprio manuscrito. Propomos também três edições distintas da obra Suite op. 133, cujo manuscrito - disponibilizado por Lisbeth e Diana Castelnuovo-Tedesco, que permanece apenas para consulta na Library of Congress (E.U.A.) -, se nos revelou como fundamental. Com esse propósito, traremos à colação um enquadramento biográfico do compositor, das obras em análise, bem como uma análise formal das mesmas; Abstract: The issue of music written for guitar, in the work of Mario Castelnuovo Tedesco: editorial analysis of the Sonata op. 77 (Omaggio the Boccherini) and proposed Suite op. 133 edition Mario Castelnuovo-Tedesco was one of the most productive and versatile composers of the twentieth century. Among operas, oratorios, ballets, film music, choir, harp, piano, organ, violin, viola and cello, Castelnuovo left more than one hundred works written for solo guitar, encouraged mostly by Andres Segovia. In this monograph, we will focus our research on the editorial analysis of Sonata op.77 (Omaggio a Boccherini), taking as a starting point the editions of Andrés Segovia (Schott, 1935) and Angelo Gilardino (Bèrben, 2007), as well as the manuscript itself. We also propose three different editions Suite op. 133, whose manuscript - available from Lisbeth and Diana Castelnuovo-Tedesco and remaining for consultation in the Library of Congress (USA) only -, was shown to be fundamental to us. For this purpose, we will draw a biographical framework of the composer, of the works under review, as well as a formal examination of the aforementioned works.

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7

Van, Gammeren Dario Leendert. "The guitar works of Mario Castelnuovo-Tedesco : editorial principles, comparative source studies and critical editions of selected works." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488651.

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The technical limitations ofthe guitar present composers who do not play the instrument themselves but who wish to compose for it with difficulties that can often only be overcome by close collaboration with a performer. It is these difficulties that have discouraged composers from writing for the instrument on their own initiative, and it was not until the early twentieth century that non-guitarist composers were commissioned by performers, most notably the Spaniard Andres Segovia. The Italian Mario Castelnuovo-Tedesco was one such composer. He eventually became so intrigued by the guitar that he wrote numerous works for it, often on his own initiative, and dedicated them to various performers. He would also give the instrument a prominent place in various chamber ensembles. It appears that the instrument's technical limitations remained beyond his grasp, and his compositions present performers with numerous problematic passages. However, it was never his intention to write in a way that would conform to what was technically acceptable at the time. Instead he aimed to renew the repertoire, and he provided performers with a text that always needed to be adapted for performance. In order to produce texts that were commercially viable, the published editions of his works for guitar had to be heavily edited. In so doing, the composer's notation was obscured by the many alterations which reflect the editors' views as to what constituted technically acceptable solutions to otherwise demanding passages. This thesis examines Castelnuovo-Tedesco's contributions to the guitar repertoire, and it evaluates how his music was edited for publication. Comparative source studies are presented of three of his compositions that date from the same period yet were published under very different circumstances. In order to classify the differences in the sources, this thesis evaluates the nature of revisions and their underlying intentions. In addition, it categorizes the various editorial changes that are commonly found in music for guitar by non-guitarist composers.- This provides a framework for a methodology according to which new critical editions ofthe three works are presented. This study shows that what would normally be considered to be the most authoritative source (the printed editions, because they would have been approved by the composer) does not necessarily provide the best base for a modem critical edition. What appears to be an authorized text turns out not to reflect most accurately what the composer intended. Although no methodology can be comprehensive and applicable to all works by any composer, this thesis seeks to develop a general set of editorial principles that are potentially applicable to the editing ofother works for guitar by non-guitarist composers.

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8

Caboverde, Enrique III. "A Graduate Guitar Recital Consisting of Works by Leo Brouwer and Mario Castelnuovo-Tedesco with Extended Program Notes." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/640.

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This thesis presents extended program notes for a recorded graduate classical guitar recital consisting of the following works for solo guitar with string quartet and chamber orchestra: Mario Castelnuovo-Tedesco: Quintet for Guitar and Strings, Op. 143; Leo Brouwer: Concerto No. 3 (“Elegiaco”). Both works are pioneering and invaluable contributions to guitar literature. Tedesco’s Quintet for Guitar and Strings, Op. 143 is the first quintet ever composed to properly showcase the virtuosity of the guitar within a chamber setting. Concerto “Elegiaco” demonstrates the refinement of Leo Brouwer’s use of post-modern tonality and minimalism within classical form, and showcases his unique compositional style.

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9

Wong, Chien-Hui. "An Analysis of Style and Influence in Mario Castelnuovo-Tedesco's Le Danze del Re David." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299681234.

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10

Campos, José Henrique Rosa de [UNESP]. "Variazioni attraverso i secoli, op 71 de Mário Castelnuovo-Tedesco: um estudo sobre a história da forma Tema e Variações no repertório violonístico." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/93751.

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Este trabalho discorre sobre a obra musical Variazioni attraverso i secoli, op 71 de Mário Castelnuovo-Tedesco, sua primeira composição para o violão, atendendo um pedido do violonista espanhol Andrés Segóvia. As propostas foram as de analisar o contexto histórico do violão no início do século XX, uma época de grande efervescência em vários setores do conhecimento humano, em que o violão se encontrava em processo de afirmação no cenário da música erudita européia, bem como perceber a relação de Castelnuovo-Tedesco neste movimento. O trabalho demonstra a aplicabilidade da forma tema e variações na obra Variazioni attraverso i secoli, op 71, esforço necessário para a compreensão do processo composicional de Castelnuovo-Tedesco.
This work issues on the musical work Variazioni Attraverso I secoli, op 71 of Mário Castelnuovo-Tedesco, his first composition for guitar, attending a request from the spanish guitarist Andrés Segovia. The proposition is to analyse the historical context of the guitar in the beginning of the XX century, an epoch of great importance in a wide range of human knowledge. The guitar was in an affirmation process in the scenery of the European music, where Castelnuovo-Tedesco is placed. This work demonstrates the use of the form of Theme and Variations in Variazioni Attraverso i Secoli, op71, which is a necessary effort for the comprehension of the compositional process of Castelnuovo-Tedesco.

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11

Hinsley, Matthew Gerritt. "Text-music relationships in Mario Castelnuovo-Tedesco's Vogelweide." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116347.

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12

Asbury, David S. Holzman Adam Dell'Antonio Andrew. "20th century romantic serialism the Opus 170 greeting cards of Mario Castelnuovo-Tedesco /." 2005. http://wwwlib.umi.com/cr/utexas/fullcit?p3165080.

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13

Hinsley, Matthew. "Text-music relationships in Mario Castelnuovo-Tedesco's Vogelweide /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116347.

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14

Asbury, David S. "20th century romantic serialism: the Opus 170 greeting cards of Mario Castelnuovo-Tedesco." Thesis, 2005. http://hdl.handle.net/2152/1501.

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15

Asbury, David S. 1963. "20th century romantic serialism : the Opus 170 greeting cards of Mario Castelnuovo-Tedesco." 2005. http://hdl.handle.net/2152/12953.

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16

Robles, Eric B. Brewer Charles E. "An analysis of Mario Castelnuovo-Tedesco's Vogelweide Song cycle for baritone and guitar /." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04122004-142926/.

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Treatise (D.M.A.) -- Florida State University, 2004.
Advisor: Charles E. Brewer, Florida State University, School of Music. Title and description from treatise home page (viewed 10-6-04). Document formatted into pages; contains 83 pages. Includes biographical sketch. Includes bibliographical references.

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