Relevant bibliographies by topics / Chaconnes (Viola and piano) / Dissertations / Theses
To see the other types of publications on this topic, follow the link: Chaconnes (Viola and piano).

Dissertations / Theses on the topic 'Chaconnes (Viola and piano)'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Chaconnes (Viola and piano).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Heim, Matthew David. "Trio for Clarinet, Viola, and Piano." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155752522.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lansdown, Louise. "Paul Hindemith's sonatas for viola and piano." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/50056.

Full text
Abstract:
Thesis (MMus) -- University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This dissertation is an account of Paul Hindemith's life between 1919 and 1939 with special reference to his compositional development through the three sonatas for viola and piano. The introduction to the dissertation initially provides a list of Hindemith's vast output for the viola followed by insight into the reason and need for undertaking this research, literary sources used and their function in the context of this study and the conclusion that there is a lack of extant research on the three sonatas for viola and piano. This is followed by comments on Hindemith as a viola player and composer, supported by opinions of scholars and performers. An overview of the contents and aim of the dissertation completes the introduction. This first of the two comprehensive chapters briefly discusses Hindemith's character traits as viewed by a number of scholars and continues by introducing the political, social and financial circumstances in Germany in 1919. The chapter progresses into a division of the period 1919-1939 into six sub-sections of dates within this time span. Each section focuses on the political, financial and musical circumstances in Hindemith's life, with special attention given to the periods of greatest change and conflict. Included in this chapter are also the specific circumstances surrounding the composition, first performances and publication of the three sonatas for viola and piano, alongside mention of other works written at the same time. This is supported by references and quotations from correspondence between Hindemith and his wife, colleagues and friends, as well as translations of newspaper articles, letters and articles which thus far have not been translated into English. Special attention is given to possible reasons for the late publication of op.25 no.4 in 1977. Chapter 2 looks deeper into the significance, success and development of Hindemith through these three works. His stylistic development beginning with the influences of Debussy and Reger, his identification with the 'Neue Sachlichkeit' until the beginning of his later conservatism can be seen clearly in these three works. The aim of the study is to assimilate the available information into an accurate and coherent picture of the composer's life and stylistic development between 1919 and 1939 in a way that has not been presented before. It is my intention through this work that the unique style of the sonatas as well as their important place in the viola repertoire is apparent, and consequently of interest to other viola players, hopefully encouraging them to play the works themselves.
AFRIKAANSE OPSOMMING: In hierdie tesis word Paul Hindemith se lewe tussen 1919 en 1939 beskryf, met spesiale verwysing na sy ontwikkeling as komponis soos dit waargeneem kan word in die drie sonates vir altviool en klavier. Die inleiding tot die tesis verskaf 'n lys van Hindemith se omvangryke oeuvre vir die altviool, gevolg deur 'n motivering waarom hierdie studie onderneem word. Die omvattende literatuurstudie dui daarop dat daar tot op datum baie min navorsing oor die drie altvioolsonates gedoen is. Vervolgens word kommentaar gelewer op Hindemith as altviolis en komponis, ondersteun deur opinies van uitvoerende kunstenaars en musikoloë. 'n Oorsig oor die inhoud en die doelstellings van die tesis sluit die inleiding af. Die eerste van die twee omvattende hoofstukke begin met 'n bespreking van Hindemith se karakter, gevolg deur 'n oorsig oor die politieke, sosiale en ekonomiese omstandighede in Duitsland rondom 1919. Die tydperk 1919-1939 word dan in ses onderafdelings verdeel. Elke onderafdeling plaas die fokus op spesifieke politieke, finansiële en musikale omstandighede in Hindemith se lewe. Die jare waarin konflik en verandering op besondere wyse na vore tree word meer omvattend bespreek. Teen die agtergrond van ander werke uit hierdie tyd word die spesifieke omstandighede rondom die komposisie, eerste uitvoering en publikasie van die drie altvioolsonates in detail beskryf. Dit word aangevul deur verwysings na en aanhalings uit korrespondensie tussen Hindemith en sy vrou, kollegas en vriende, sowel as deur vertalings van koerantartikels en briewe wat tot dusver nog nie in Engels beskikbaar was nie. Hoofstuk 2 plaas die klem op Hindemith se stilistiese ontwikkeling, soos dit in the drie sonates waargeneem word. Die sonates illustreer Hindemith se ontwikkeling vanaf sy bewondering vir Debussy en Reger, oor sy vereenselwiging met die ideale van die 'Neue Sachlichkeit' tot by die meer konservatiewe benadering wat hy later gevolg het. Hierdeur word gepoog om die unieke waarde van die sonates, asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel. Die doel van die studie is dus om die beskikbare inligting tot 'n samehangende en akkurate beeld van die komponis se lewe en stilistiese ontwikkeling tussen 1919 en 1939 te voeg op 'n wyse wat nog nie voorheen gedoen is nie. Hierdeur word gepoog om die unieke waarde van die sonates asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel.
APA, Harvard, Vancouver, ISO, and other styles
3

Sokolov, Yaron. "Atteone significa : for viola, piano and percussion with controllers /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Pereira, Antonio Carlos de Mello. "Concerto para viola de Claudio Santoro : edição de partitura, redução para viola e piano e subsidios para interpretação." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284717.

Full text
Abstract:
Orientador: Emerson Luiz de Biaggi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T12:06:02Z (GMT). No. of bitstreams: 1 Pereira_AntonioCarlosdeMello_M.pdf: 3600416 bytes, checksum: c92d7d21bb89a916777ef4de9d4054a7 (MD5) Previous issue date: 2008
Resumo: Este trabalho tem o intuito de contribuir para a pesquisa e o enriquecimento do repertório de música brasileira específica para viola, em vista da pouca quantidade de obras em forma de concerto escritas para o instrumento no Brasil. A produção de uma partitura editada e a redução no formato para viola e piano, permite em primeiro lugar o estudo de forma prática da obra por músicos e professores, e conseqüentemente sua aplicação no currículo das escolas de música, conservatórios e universidades. Isso contribui para divulgar esse concerto especialmente representativo na obra de Claudio Santoro. O trabalho de edição utiliza sugestões de James Grier, com uma investigação histórica sobre as fontes, estabelecendo critérios de revisão e edição fundamentados num estudo e identificação dos elementos de estilo do compositor. Em seguida realizamos uma análise da peça seguindo a proposta de Jan LaRue em seu livro Guidelines for Style Analysis, que igualmente propõe a identificação dos elementos musicais, suas inter-relações que ajudam a definir aspectos de estilo do compositor. Finalizando, oferecemos informações e sugestões como subsídios para a interpretação do concerto, sempre lembrando a conexão da parte teórica e analítica com a realidade prática do intérprete. As sugestões de sonoridades específicas são embasadas em aspectos técnicas da prática violística com especificações em dedilhados, arcadas, e articulações.
Abstract: The primary purpose of this study is to contribute to the research on the contemporary Brazilian repertoire for viola, which has very few concertos. The musical edition prepared in this research, including the score, the reduction for viola and piano, and the solo-viola part, will allow its study by musicians, teachers and students, and consequently its inclusion in the curriculum of conservatories, music schools and universities. This way we hope to help preserving this concerto so representative of Claudio Santoro's musical production. The edition process was based on James Grier's suggestions, using historic investigation of the sources and establishing review and edition criteria based on the identification of the composer's style. In the sequence of the study, we use the method proposed by Jan LaRue's in his book "Guidelines for Style Analysis" to identify the musical elements and its inter-relation to help define aspects of the composer's style. Finally, we offer information and subsidies for the interpretation of the concert, connecting analysis and instrumental practice, with suggestions about musical and technical problems.
Mestrado
Mestre em Música
APA, Harvard, Vancouver, ISO, and other styles
5

Orsi, Ivana Paris. "Pequena suite de Villa-Lobos : transcrição para viola e piano." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284150.

Full text
Abstract:
Orientador: Gualberto Estades Basavilbaso, Eduardo Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-28T13:31:24Z (GMT). No. of bitstreams: 1 Orsi_IvanaParis_M.pdf: 4168320 bytes, checksum: dad402affb1b0c4f3948e88de080d9ed (MD5) Previous issue date: 2000
Resumo: Este trabalho transcreve para viola e piano Pequena Suite, escrita originalmente para violoncelo e piano por Heitor Villa-Lobos. Está dividido em quatro partes: INTRODUÇÃO, J}ANÁLiSE, 2)TRANSCRIÇÃO e CONCLUSAO. A Introdução da uma rápida explanação sobre o papel das transcrições no repertório violístico e expõe o plano do trabalho. A Análise toma contato com a estrutura da Suite em seus aspectos micro, médio e macro e depois, através de um Estudo, tira conclusões unindo os três níveis estruturais; logo após, uma síntese aborda os aspectos melódicos, rítmicos, harmônicos e timbrísticos presentes em Pequena Suíte. A Transcrição apresenta seus principais impasses e soluções (através da análise), objetivos didáticos das peças e regras de interpretação, bem como sugestão dededilhados e arcadas. A Conclusão é a partitura completa (piano e viola) mais a parte do solista (viola) para a utilização dos instrumentistas
Abstract: This work transcribes for viola and piano Pequena Suite, written originally for violoncello and piano by Heitor Villa-Lobos. It is divided into four parts: INTRODUCTION, 1) ANALYSIS, 2) TRANSCRlPTION and CONCLUSION. The Introduction gives a brief explanation about the role of transcriptions in viola' s repertoire and exhibits the work's plan itself. The Analysis brings to focus the Suite's structure in its micro, middle and macro aspects; a Study offers conclusions uniting the three structural levels; afterwords, a Synthesis approaches the aspects of melody, rhythm, harmony and sound in Pequena Suite. The Transcription presents its main problems and solutions (through analysis), didactical objectives of the pieces and interpretative suggestions including fingerings and bowings. The Conclusion is the complete music itself, including the viola and piano score and an independent solo viola part as well
Mestrado
Mestre em Artes
APA, Harvard, Vancouver, ISO, and other styles
6

Braddock, Andrew. "A Performance Guide to Arthur Bliss's Sonata for Viola and Piano." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/152.

Full text
Abstract:
Arthur Bliss’s Sonata for Viola and Piano stands as a significant achievement in early twentieth-century chamber music for viola and is the result of a fruitful collaboration between composer and virtuoso performer. Multiple scholars recognize the sonata as one of Bliss’s finest works. Despite these accolades, the work has failed to attract sustained scholarly investigation. This document provides performers with the necessary tools for a thorough and contextualized presentation of the work. The main body of this study details the technical aspects of performing the sonata: viola technique, expressive challenges, and ensemble concerns. Preceding this, I cover the relevant biographical details from Bliss’s life, examine the roots of his chamber music writing for viola by analyzing two early works, and investigate the collaboration between Lionel Tertis and Bliss in creating this work.
APA, Harvard, Vancouver, ISO, and other styles
7

Marshall, Adrienne Marie. "The Clarinetist’s Guide to the Performance of the Clarinet, Viola, and Piano Trios by Mozart, Bruch, and Larsen." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366379914.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hendrickson, Tyler John. "John Blackwood McEwen Sonata in A minor for viola and piano (1941): a critical performance edition." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6762.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Tábora, Deras Manuel Emilio. "The viola works of Peter Racine Fricker, with emphasis on his Three movements for viola solo, op. 25 plus an overview of his Concerto for viola op. 18, and Fantasy for viola and piano, op. 44." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1921.

Full text
Abstract:
British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never became a household name in America. Despite this, it is my contention that his music deserves study and a place in our repertoire. The above-mentioned Concerto has remained available in print since its initial publication. Fantasy for Viola and Piano was published in 2014 by the American Viola Society. This essay gives an introduction to these two works which are currently in circulation. The Concerto is considered from the standpoint of viola technique and pedagogy, while the Fantasy is briefly analyzed in terms of Fricker’s stated compositional ideals. The culmination of this work is a performance edition of the Three Movements, to be published later this year by the American Viola Society.
APA, Harvard, Vancouver, ISO, and other styles
10

Artamonova, Elena. "Between tradition and modernity : Sergei Vasilenko and his unknown works for viola and piano." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9916/.

Full text
Abstract:
Sergei Vasilenko has been perceived as a conformist and inconsequential Soviet composer in post-Soviet Russia. The recent discoveries of unpublished documents reveal Vasilenko to be a talented musician whose search for a niche within the culture of Soviet music forced him to keep his true musical writings secret from the public in a drawer of his desk. The author of this thesis was fortunate to find a number of his unknown and unpublished compositions for viola and piano. In view of the paucity of music for stringed instruments in Russia in the first decades of the last century, Vasilenko’s seven compositions for viola, which are all different in style, mode and technique, assume especial importance. The analysis of these works shows that Vasilenko equally combined the elements of many diverse and often contradictory musical conceptions of the time, including the Silver Age, Neoclassicism, Romanticism and the Avant-garde. His innovative style – expanding the technical and sonorous potential of the instrument, and the rhythmic and harmonic resources of Russian music – launched new standards in viola performance and expanded its repertoire. This thesis investigates the language, performing issues and the reasons for the neglect of his viola works as well as their stylistic roots that spanned from Vasilenko’s interest in the Baroque to Russian liturgical music. The aim of this study is to re-evaluate the role of Vasilenko in the enhancement of the viola as a solo instrument in the twentieth century and bring his works to a concert platform. The analysis and discussion of these subjects rely heavily on unpublished and little-explored materials on Vasilenko from the archives in Moscow. This PhD submission has practical and written components that consist of the written thesis, edited musical scores and the first complete recording of Vasilenko’s compositions for viola and piano released by Toccata Classics.
APA, Harvard, Vancouver, ISO, and other styles
11

Mizael, Hellen Dias. "Sonata para viola e piano (1950) de Camargo Guarnieri: estudo técnicointerpretativo e tratamento editorial." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/AAGS-8RHFL8.

Full text
Abstract:
The present work relates to a technical and interpretative study of Camargo Guarnieris Sonata for viola and piano (1950). Initially, a biographic study about the composer is done, as well as his musical career and major artistic achievements. It includes a formal analysis of the Sonata, aiming to give emphasis to its compositional aspects. Questions related to viola technique which are presented in this work are approached and complemented with methods of studies and interpretation. In addition an analysis of the violist Perez Dworeckis musical performance is done, the first performer of the work in study. At last a digitalization and a editorial treatment of this Sonata is done, in which it is included suggestions of strokes, fingerings and a text review.
O presente trabalho trata-se de um estudo técnico e interpretativo da Sonata para Viola e Piano (1950), de Camargo Guarnieri. Inicialmente, é realizado um estudo biográfico sobre o compositor, sua carreira musical e principais realizações artísticas. Inclui-se uma análise formal da Sonata, visando a destacar seus aspectos composicionais. Questões relacionadas à técnica da viola e presentes nessa obra são abordadas e complementadas com métodos de estudos e interpretação. Inclui-se também uma análise da performance musical do violista Perez Dworecki, o primeiro intérprete da obra em estudo. Ao final é realizada a digitalização e o tratamento editorial da Sonata, no qual se dispõe de sugestões de arcadas, dedilhados e revisão textual.
APA, Harvard, Vancouver, ISO, and other styles
12

Goodall, John W. (John Williams). "A Stylistic Analysis of Charles Martin Loeffler's Deux Rapsodies for Oboe, Viola and Piano, L'étang and La cornemuse, After Poems by Maurice Rollinat: A Lecture Recital, Together with Three Recitals of Selected Works by E. Rubbra, D. Beaty, B. Britten, W.A. Mozart, and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332159/.

Full text
Abstract:
At the turn of this century, Charles Martin Loeffler (1861-1935) was considered to be among the finest of the handful of well-known American composers of the time. His music was often performed by major symphony orchestras, chamber groups and solo artists. Deux rapsodies for Oboe, Viola and Piano: L'Etang and La Cornemuse, after poems by Maurice Rollinat (1846-1903), show Loeffler's affinity for programmatic concepts. These works, completed in 1901, are revisions of settings of 1898 for low voice, clarinet, viola and piano, and are now, unfortunately, out of print; but the oboe, viola and piano setting has been published (originally as Deux rapsodies by G. Schirmer, 1905; the latest edition, Two Rhapsodies, is by McGinnis and Marx, N.Y., 1979) and recorded several times. Loeffler has reflected Rollinat's poetry in his settings by means of melodic, rhythmic and harmonic devices unique to his style. Formal and articulative devices also tend to point to his dependence on the poetry as a source of inspiration and as means for defining the final musical product. Indeed, the music seems incapable of existence independent of its source in the richly imagistic poetry of Rollinat.
APA, Harvard, Vancouver, ISO, and other styles
13

Kutner, Renato. "Brasiliana nº2 de Cyro Pereira : analise interpretativa, preparação de edição e redução para viola e piano." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284733.

Full text
Abstract:
Orientador: Emerson Luiz de Biaggi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T00:36:08Z (GMT). No. of bitstreams: 1 Kutner_Renato_M.pdf: 3915723 bytes, checksum: e1be34d269625ea618be8b77561ca028 (MD5) Previous issue date: 2006
Resumo: Os objetivos principais desta pesquisa são: 1. Fazer um estudo técnico e interpretativo visando à execução da obra Brasiliana nº2. Para isso, foi elaborada uma análise interpretativa sob vários aspectos: harmônico, formal, técnico e idiomático, além de ser apresentado um breve histórico da vida e obra do compositor. 2. Realizar uma edição crítica da partitura e partes, bem como uma redução para piano da parte orquestral, com a finalidade de difundir a obra por meio de sua execução com orquestra ou piano
Abstract: The purpose of the present research is to study the technical and interpretative aspects of the piece viewing its performance. To accomplish this objective, harmonic, formal, technical and idiomatic aspects were analyzed. A critical edition of the score and parts, as well as a piano reduction was prepared, with the intent of divulging the piece and enabling its performance with orchestra or piano accompaniment
Mestrado
Mestre em Música
APA, Harvard, Vancouver, ISO, and other styles
14

Lee, Hsiaopei. "The history of Viola transcriptions and a comprehensive analysis of the transcription for Viola and piano of Beethoven's Violin Sonata op. 30, no. 1." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1115956595.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

LEE, HSIAOPEI. "THE HISTORY OF VIOLA TRANSCRIPTIONS AND A COMPREHENSIVE ANALYSIS OF THE TRANSCRIPTION FOR VIOLA AND PIANO OF BEETHOVEN'S VIOLIN SONATA OP. 30, NO. 1." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115956595.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Sacco, Ana Carolina Robusti 1979. "Estudo interpretativo da obra 'Trio das águas' para clarinete, viola e piano de Ricardo Tacuchian." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285323.

Full text
Abstract:
Orientador: Emerson Luiz de Biaggi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T09:43:22Z (GMT). No. of bitstreams: 1 Sacco_AnaCarolinaRobusti_M.pdf: 15590996 bytes, checksum: ae62d7c571cb9ee599acbdfd96cc3ecb (MD5) Previous issue date: 2015
Resumo: O objeto de estudo deste trabalho é a peça "Trio das Águas" composta por Ricardo Tacuchian no ano de 2012 e dedicada ao Terra Brasilis Trio, grupo no qual a autora desta dissertação atua como pianista. O primeiro capítulo aborda aspectos do ofício de compositor segundo Tacuchian, seus anseios e motivações para compor, fazendo ainda uma breve explanação a respeito dos fundamentos teóricos do Sistema ¿ T, ferramenta de controle de alturas desenvolvida pelo compositor no início dos anos 80 utilizada para a composição do "Trio das Águas". No segundo capítulo identificamos aspectos relevantes do emprego do Sistema ¿ T e que serviram de base para estruturar esta primeira interpretação. As sugestões interpretativas aqui encontradas baseiam-se no trabalho em conjunto dos primeiros intérpretes da obra com o compositor, buscando melhor compreensão de suas ideias quanto à concepção da obra, sonoridade e articulações desejadas. Os anexos consistem em textos de autoria do compositor sobre a abordagem estética em suas obras e seu Sistema ¿ T, disponibilizados pelo mesmo, e que deram suporte a essa dissertação. Ao levantar essas informações, o presente trabalho tem por objetivo dar subsídios aos futuros intérpretes desta peça no desenvolvimento de uma interpretação coerente com as idéias do compositor
Abstract: The subject of this dissertation is the piece "Trio das Águas" (Water¿s Trio) composed by Ricardo Tacuchian in the year 2012 and dedicated to the Terra Brasilis Trio, ensemble where the author of this dissertation acts as pianist. The first chapter addresses aspects of the composer¿s craft, his wishes and motivations to compose it, and explains the T-System (Sistema ¿T), a pitch control tool developed by the in the 1980¿s used in the composition of the "Trio das Águas". In the second chapter, we identify relevant aspects of the use of this T-System that worked as basis for the first interpretation of the piece. The interpretative suggestions are based in the collaborative work of the first interpreters with the composer, seeking a better comprehension of his ideas about the concept of the work, sonority and desirable articulations. The attachments consist of texts by the composer about the aesthetical approach in his pieces and the "Sistema ¿ T". These texts, made available by the composer himself, served as basis for this dissertation. The present dissertation has as its goal to offer support to future interpreters of this piece, facilitating the development of an interpretation coherent with the composer¿s ideas
Mestrado
Praticas Interpretativas
Mestra em Música
APA, Harvard, Vancouver, ISO, and other styles
17

Lee, Kyungju. "An analysis and comparison of the clarinet and viola version of the two sonatas for clarinet (or viola) and piano OP. 120 by Johannes Brahms." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1100760484.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

LEE, KYUNGJU. "AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSIONS OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP 120 BY JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100760484.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Geidel, Stanley M. "Mozart's Trio in E-flat, K. 498, for piano, clarinet, and viola : an analytical examination of melodic relationships, a comparative study of current editions, and an investigation of contemporary performance practices." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722774.

Full text
Abstract:
The purpose of this study was to create a document which would provide a variety of insights into Mozart's Trio in E-Flat, K. 498, for piano, clarinet, and viola. Three specific areas were investigated. A melodic analysis of the work was developed with the intention of illuminating the structure of the musical material itself. This analysis explored the dual forces of unity and contrast. Specific motivic shapes were explored which serve to unite the various thematic areas of the work; other elements were identified which are consistently utilized to create contrast and conflict.Secondly, the writer undertook a comparison of current editions of K. 498. Editions were identified as one of three types. Those editions identified as Authentic sought to reflect Mozart's original manuscript; Interpretive editions presented an editorial view of the Trio. Imitative editions were developed entirely from previously existing editions. Comparisons were made both within individual categories as well as between categories. The writer conducted a personal investigation of Mozart's manuscript which provided valuable information regarding the authenticity of certain passages.The study concluded with an investigation of current views on the presentation of K. 498 in performance. Information was obtained from recorded performances of the Trio. In addition, the writer conducted a survey of the opinions of teachers and performers. Comments on the revision of specific passages relative to pitch are included, as well as opinions on tempo, meter, dynamics, articulations, stresses, balance, the interpretation of specific phrases, and musical character.
School of Music
APA, Harvard, Vancouver, ISO, and other styles
20

Gotō, Yo. "Voci lontani for flute, trumpet, percussion, piano, and string quartet, critical essay and score /." connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.unt.edu/etd/all/Aug2004/goto%5Fyo/index.htm.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Santos, Jos? Carlos dos. "Sugest?es perform?ticas do bilhete de um jogral para viola sozinha e das tr?s pe?as para viola e piano de C?sar Guerra-Peixe." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20979.

Full text
Abstract:
Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-07-11T18:12:27Z No. of bitstreams: 1 JoseCarlosDosSantos_DISSERT.pdf: 7612237 bytes, checksum: 29cfc919ec9634affa60afdf9f993b00 (MD5)
Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-07-19T18:32:17Z (GMT) No. of bitstreams: 1 JoseCarlosDosSantos_DISSERT.pdf: 7612237 bytes, checksum: 29cfc919ec9634affa60afdf9f993b00 (MD5)
Made available in DSpace on 2016-07-19T18:32:17Z (GMT). No. of bitstreams: 1 JoseCarlosDosSantos_DISSERT.pdf: 7612237 bytes, checksum: 29cfc919ec9634affa60afdf9f993b00 (MD5) Previous issue date: 2015-12-16
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES)
Este trabalho tem como objetivo principal realizar um estudo interpretativo da obra para viola e piano intitulada Tr?s Pe?as, e da obra para viola solo intitulada Bilhete de um Jogral, do compositor brasileiro C?sar Guerra Peixe. Esse estudo ser? dividido em tr?s partes: A primeira trar? um breve hist?rico sobre o compositor com enfoque em sua passagem por Pernambuco no final da d?cada de 1940 e in?cio da d?cada de 1950; a segunda mostrar? a utiliza??o de elementos do regionalismo musical pernambucano utilizados pelo compositor nas pe?as citadas; a terceira apresentar? um conjunto de sugest?es interpretativas fundamentadas: na an?lise dos elementos musicais regionais identificados nessas obras; nos rudimentos t?cnicos utilizados na escrita para viola alusivos as arcadas, din?micas, dedilhados, articula??es, fraseados; e nas experi?ncias vivenciadas pelo autor desta pesquisa como int?rprete dessas obras.
This work is aimed at providing an interpretive study of the work for viola and piano titled Three Pieces, and work for solo viola titled Ticket of a Jogral, by Brazilian composer C?sar Guerra Peixe. This study will be divided into three parts: The first will bring a brief history of the composer focusing on his visit to Pernambuco in the late 1940s and early 1950s; the second shows the use of Pernambuco musical regionalism elements used by the composer in the aforementioned documents; the third will present a set of interpretive suggestions based: the analysis of regional musical elements identified in these works; the technical rudiments used in writing for viola depicting the arcades, dynamics, fingerings, articulations, phrasing; and the experiences lived by the author of this research as an interpreter of these works.
APA, Harvard, Vancouver, ISO, and other styles
22

Bolles, Marita. "What exit /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049669.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

Kim, Junghyun. "Isang Yun's Duo for Viola and Piano (1976): A Synthesis of Eastern Music Concepts With Western Music Techniques." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193670.

Full text
Abstract:
Isang Yun is one of the most significant figures in Korean music of the twentieth century. He moved beyond serialism, founding his musical resources in Korean traditional music as well as in Taoism. Yun created unique sound which has resemblance to Korean traditional music particularly in ornaments through Western instrumentation and musical techniques. Consequently, Yun invented his own main tone technique, and its distinctive Koran sound separated him from other important avant-garde composers of the twentieth century. In this thesis Yun's life is introduced as a strong influence on his compositional styles. Also, his compositional styles are placed within the larger context of twentieth century musical trends, which shows why his works are important in twentieth century music history. Most importantly, it demonstrates that the idiosyncratic style of Isang Yun's Duo for Viola and Piano results from a blending of Eastern and Western musical elements. For this reason, in this document I will analyze and examine the Duo for Viola and Piano, and explain how Yun translated Eastern musical concepts into Western musical techniques.
APA, Harvard, Vancouver, ISO, and other styles
24

le, Clercq Astrid. "Variation av interpretation : Olika utgångspunkter för tolkning av Brahms sonat i Ess dur för klarinett och piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3506.

Full text
Abstract:
I detta arbete utforskas interpretation av västerländsk konstmusik, och olika utgångspunkter och tankesätt kring detta. I studien undersöks Johannes Brahms sonat i Ess dur för klarinett och piano (Op. 120, No. 2). Syftet var att ta upp och gräva djupare i aspekter såsom tidstroget framförande, kompositörens intentioner och eget uttryck för att kunna utveckla och förstå sin egen tolkning så mycket som möjligt. Sonaten har undersökts på två sätt. Dels presenteras en analys av första satsen, med fokus på motiv och teman och hur dessa förhåller sig till bl.a. harmoniken, samt en diskussion om huruvida musiken är i sen stil, alltså stildrag som brukar vara gemensamma för konstnärers sista verk. Det andra sättet sonaten har undersökts på är genom intervjuer med musiker om hur de tänker när de tolkar det här stycket. Studiens resultat påvisar att den djupare förståelse som en musikalisk analys medför innebär att jag som musiker kan fatta snabbare och mer motiverade beslut i min interpretation. Genom att sätta mig in i kompositörens liv och mående utvecklades en djupare känsla för stycket och en vilja att uttrycka något som känns rätt.
APA, Harvard, Vancouver, ISO, and other styles
25

Du, Plessis Jacques. "Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017818.

Full text
Abstract:
Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
APA, Harvard, Vancouver, ISO, and other styles
26

Zhang, Ke. "A Performance Guide to "The Sound of the Prairie Land (Caoyuan Zhige) for Viola and Piano" by Qingwu Guan." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707402/.

Full text
Abstract:
The Sound of the Prairie Land (Caoyuan Zhige) for viola and piano by the Chinese composer Qingwu Guan (b. 1938) has become one of the most popular works in the growing Chinese repertoire for viola. It also exists in another version for viola and viola ensemble, arranged by the Chinese violist Wing Ho, who also expanded the viola part with the composer's approval. The pentatonic work was highly influenced by the landscape and music of Inner Mongolia, a province of China next to the Mongolian border, and incorporates the music of an ode by the Inner Mongolian composer Alatengaole (1942–2011) called Sincere Wishes for a Long Life to Chairman Mao. Guan remains a strong supporter of Mao, the first chairman of the Chinese Communist Party. The work makes use of some performance techniques of the Inner Mongolian two-stringed fiddle called morin khuur, which has a similar tone to the viola: three kinds of slides, grace notes, imitations of a horse's neigh, and the representation of horses galloping across the prairie. The background of the work, understanding of the musical structure, and information about morin khuur techniques presented in this dissertation should aid performers in interpreting the work more authentically.
APA, Harvard, Vancouver, ISO, and other styles
27

Lynch, John James. "A study of the methods of composition and transcription developed in Bartok's First Rhapsody for violin and piano (1928) with regard to its recent transcription for viola and piano /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17281.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Kubala, Ricardo Lobo. "A escrita para viola nas sonatas com piano Op.11 N.4 e Op.25 N.4 de Paul Hindemith : aspectos idiomaticos, estilisticos e interpretativos." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284851.

Full text
Abstract:
Orientador: Emerson Luiz de Biaggi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T02:55:31Z (GMT). No. of bitstreams: 1 Kubala_RicardoLobo_M.pdf: 1337733 bytes, checksum: bac63f0fcbbc723543643b61e0abfe1f (MD5) Previous issue date: 2004
Resumo: O surgimento de repertório de maior relevância para viola foi resultado de procura por identidade do instrumento, da qual participaram compositores e intérpretes. Paul Hindemith foi figura marcante nessa busca. Compôs várias obras de importância para viola, como as sonatas Op.11 NQ 4 (1919) e Op.25 NQ 4 (1922), as quais, apesar de cronologicamente próximas, apresentam acentuada diferenciação estilística. São examinadas as causas desse contraste e suas conseqüências no âmbito da prática interpretativa. Buscando subsídios para o estudo das sonatas, inicialmente é traçado um relato sobre vida, obra e idéias de Hindemith, com enfoque em sua faceta multi-instrumentista e a variedade estilística de sua produção. Segue-se uma reflexão sobre a evolução de uma escrita para viola com maior preponderância de aspectos idiomáticos, que fornece dados relativos a aspectos específicos da prática instrumental da viola. A investigação de ambas as sonatas é realizada, então, por meio da observação de características estilísticas, associadas, por sua vez, a aspectos concernentes à prática interpretativa. A pesquisa visa fornecer conhecimento que contribua para uma execução eficiente em sua comunicação com o público
Abstract: A more relevant repertoire for the viola emerged as a result of the search by composers and interpreters for the instrument's identity. Along with other composers and performers such movement showed Paul Hindemith as an important figure. He wrote several major works for viola including the sonatas Op.11 NA (1919) and Op.25 NA (1922). In spite of their chronological proximity these sonatas show clearly distinct styles. The present study examines the causes of that contrast and its consequences to practical interpretation. In order to investigate thoroughly the sonatas, Hindemith's life, work and ideas are also described. The composer's ability and interest in playing several instruments as well as a variety of styles within his work are also highlighted. In addition, the present work discusses the evolution of the writing for the viola that is rich in idiomatic elements demonstrating very specific aspects of the viola playing. The study of the sonatas is based on the analysis of their stylistic features associated with aspects of performance practice. The purpose of the present research is to offer musicians data that may contribute to an efficient performance in the communication with the audience
Mestrado
Musica
Mestre em Música
APA, Harvard, Vancouver, ISO, and other styles
29

Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

Full text
Abstract:
Thesis (M.M.)--Bowling Green State University, 2007.
Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
30

Willson, Simon. "A portfolio of compositions presented for the degree of PhD in music composition at the University of Aberdeen." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=136866.

Full text
Abstract:
This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently.  Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language.  In contrast, two works (Aubade and So Turn Your Heart) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance.  From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.
APA, Harvard, Vancouver, ISO, and other styles
31

Karlstrom, Sigrid. "Three Women Composers and Their Works for Viola and Piano| Marion Bauer, Miriam Gideon, and Vivian Fine and the Trajectory of Female Tradition in American Music." Thesis, University of Hartford, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10982811.

Full text
Abstract:

The lives and careers of the three women composers Marion Bauer (1882-1955), Miriam Gideon (1906-1996), and Vivian Fine (1913-2000) spanned more than a century. Each wrote works for viola and piano, including Bauer's Sonata for Viola and Piano, op. 22, Gideon's Sonata for Viola and Piano, and Fine's Lieder for Viola and Piano. Together, these composers' careers encompass a number of important trends in the professional development of the twentieth century woman composer in the United States.

Women composers were hindered in their advancement and acknowledgement for a number of reasons. One of these was a lack of "female tradition", the absence of an existing community of successful women composers to look to as examples. Another was the "female affiliation complex", the idea that female professionals struggle to look toward their predecessors as models because the female tradition is devalued. First, this document will explore the lives and influences of Marion Bauer, Miriam Gideon, and Vivian Fine, aiming to contribute to a better understanding of how "female tradition" and the "female affiliation complex" affected these composers' lives. Second, each work for viola and piano will undergo theoretical analysis focusing on goal-directed linearity. Goal-directed linearity is an issue of interest to performers and will encourage a deeper understanding of the works in question, fostering their further performance and dissemination.

APA, Harvard, Vancouver, ISO, and other styles
32

Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

Full text
APA, Harvard, Vancouver, ISO, and other styles
33

Taher, Cecilia. "Elasticity in three compositions with flute by Boris Blacher." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/320.

Full text
Abstract:
This thesis proposes a new concept of form for Boris Blacher's Divertimento for Woodwinds, Duet for Flute and Piano, and Quintet for Flute, Oboe, Violin, Viola, and Violoncello. In 1950, Blacher began to use systematically varying metric units to provide logic to the apparently arbitrary rhythm of modern music. This practice led the few scholars who have studied his compositions to concentrate on the mathematical organization of metrical units, underestimating other musical elements. This dissertation is based on the idea that it is not the mere disposition of meters, but mostly the interaction between them and other musical elements that makes the peculiar durational scheme audible, thus perceptually relevant. Following this, the technique of expansion and contraction that becomes evident in the organization of the meters is also present in the disposition of durations at other hierarchical levels and in the pitch structure. Furthermore, the mathematical metrical scheme is the foundation for a deeper universe of systematic organization. Blacher's techniques provide a unique sense of movement to his compositions, the aural effect of an "elastically developing music." In Duet and Quintet, this idea is also applied in simultaneity to the registral disposition of pitches and textural development, suggesting vertical elasticity. As a result, Blacher's late compositions suggest a replacement of the traditional concepts of form and texture with a new idea of constantly moving, elastic shape. The methodological approach of this thesis is exclusively analytical and technical, with emphasis on durational and pitch organization, form, texture, and the interaction among these aspects. The individual and comparative analysis of the three compositions reveals a consistent conception of the musical space that emphasizes its bi-dimensional quality. In the Divertimento, the unitary conception of the vertical and horizontal construction is mainly reflected in the bi-dimensional treatment of interval classes that provides coherence to the motivic structure. In Duet and Quintet, this mere idea of consistent organization of the musical materials in the horizontal and vertical dimensions of the total space becomes a unique principle of formal definition, the elastic development of the musical content itself.
APA, Harvard, Vancouver, ISO, and other styles
34

Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

Full text
Abstract:
Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.
APA, Harvard, Vancouver, ISO, and other styles
35

McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

Full text
Abstract:
The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.
APA, Harvard, Vancouver, ISO, and other styles
36

Vyver, Renata van der. "Doctoral thesis recital (viola)." Thesis, 2013. http://hdl.handle.net/2152/23233.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Coleman, Jacob A. "Doctoral thesis recital (collaborative piano)." Thesis, 2012. http://hdl.handle.net/2152/23944.

Full text
APA, Harvard, Vancouver, ISO, and other styles
38

Yang, Hui-wen, and 楊惠雯. "Musical Analysis On Hindemith sonata for viola and piano." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/7q6335.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Wang, Yu-Hsin, and 王昱心. "The Study of Ernest Bloch’s “Suite for Viola and Piano”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/r377kf.

Full text
Abstract:
博士
國立臺灣師範大學
音樂學系
107
Ernest Bloch (1880-1959), not only a Swiss-born American Jewish composer, was also an amateur photographer. By reaching into his inner world and relieving his stress through composing music, reading literatures, traveling and taking photography, Bloch was inspired and produced his compositions in a very unique way. While researching the topic of this dissertation, Suite for Viola and Piano (1919), it is easy to feel Bloch’s special aesthetic taste and his ambition to show his own style. Suite for Viola and Piano was written after the Bloch's iconic work “Jewish Cycle” (1911-1916), the tone color of the work Suite for Viola and Piano differs significantly from the “Jewish Cycle”. In addition, Suite for Viola and Piano won the first prize of the Berkshire Festival & Coolidge Competition in 1919, which was under the auspices of Elizabeth Sprague Coolidge (1864-1953), a well-known American female sponsor and musician. Bloch’s Suite for Viola and Piano is full of his personal aesthetics and creativity. The inspiration and techniques of the work are closely linked to the musical and artistic characteristics that Bloch experienced during his stay in Paris, the contact with Claude Debussy (1862-1918) and his friendship with Robert Godet (1866-1950), etc.. This dissertation discusses Bloch's life experience and analyzes the different characteristics of each movement in his Suite for Viola and Piano, in addition to studying the current events and cultural activities as well as the changes of the social atmosphere during the time Bloch composed this work. Lastly, it reveals how the literary, artistic and musical elements of the time influenced Bloch’s creative thinking and composing approach. Keywords: Ernest Bloch, Jewish Cycle, Elizabeth Sprague Coolidge, Claude Debussy, Robert Godet
APA, Harvard, Vancouver, ISO, and other styles
40

LEE, PEI-YI, and 李沛怡. "Pei-Yi Lee Viola Recital and a Composition based on Taiwanese Folk Songs for Viola and Piano." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/c22t52.

Full text
Abstract:
碩士
國立交通大學
音樂研究所
92
This music is based on Taiwanese folk songs.Because I stay in Taiwan,these two folk songs to me are very impressive and meaningful.They can arouse my emotions of the Taiwan. By these two folk songs, they are not only be a song, but be an art music. The art music express intended reality and subjective reality. From this tonality and what I have learned about structure of music and harmony of the western music , I extended the feeling that the two songs gave to me and created a new world to them.
APA, Harvard, Vancouver, ISO, and other styles
41

Su, Allie Yuying. "Doctoral thesis recital (collaborative piano)." 2010. http://hdl.handle.net/2152/11600.

Full text
Abstract:
7 variations on "Bei Mannern, welche Liebe fuhlen" from Die Zauberflote, WoO 46 / Ludwig van Beethoven -- Poeme elegiaque, op.12 / Eugene Ysaye -- Marchenbilder, op.113 / Robert Schumann -- Sonata, op.23 / Lowell Liebermann
text
APA, Harvard, Vancouver, ISO, and other styles
42

盧妍年. "The Analysis and Interpretation of Rebecca Clarke：Sonata for Viola and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/94551946211353586329.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

LIN, Yi-Pei, and 林宜蓓. "Bliss Sonata for Viola and Piano- A Musical Analysis and Interpretation." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/979s7b.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Chen, Ying-Chen, and 陳映蓁. "An Analysis and Interpretation of Bax Sonata for Viola and Piano." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/h4mu4y.

Full text
APA, Harvard, Vancouver, ISO, and other styles
45

"A Transcription of Rebecca Clarke’s Sonata for Viola and Piano for Clarinet and Piano by Johnathan Christian Robinson." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55587.

Full text
Abstract:
abstract: Throughout centuries of great classical music, many clarinet compositions have been adapted from a wealth of literature for string instruments and instruments of similar ranges. Viola, violin, and cello literature can often be adapted into challenging literature for the clarinet. While the works of English composer and violist, Rebecca Clarke (1886-1979), have gained popularity in the early 2000s, many of her compositions have yet to be discovered by musicians performing on wind instruments of similar ranges. While legendary western composers such as Mozart, Weber, and Brahms, will continue to be enduring icons in classic clarinet literature, performers and educators alike should always consider the integration of transcribed works for the expansion and diversity of the repertoire. Although a sizeable amount of literature for clarinet is contained in orchestral and chamber works of the late-Romantic era, the availability of solo clarinet literature in this style is lacking. The purpose of the project is the addition of Rebecca Clarke’s 1919 Viola Sonata for B-flat soprano clarinet and piano to the solo clarinet repertoire. The transcription preserves the integrity of the original music while exploring the virtuosic nature of the clarinet and its interaction with the piano. Comments on the historical background of Clarke’s Viola Sonata and the transcription procedures are provided as well.
Dissertation/Thesis
Doctoral Dissertation Music 2019
APA, Harvard, Vancouver, ISO, and other styles
46

Hung, Yeh Chun, and 洪也淳. "An Analysis and Interpretation of Gyula Dávid’s Concerto for Viola and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/37884270957747389106.

Full text
Abstract:
碩士
國立臺北教育大學
音樂學系碩士班
99
The research subject of this thesis is the Viola Concerto by the Hungarian composer Gyula Dávid（1913-1977）written in 1950, and dedicated to Pálnak Lukács（1919-1981）. There are three movements, the first and the third movements have the character of folk-dance rhythms, and run through with lively cadence. The present of the second movement is melodic with folksong- like. The concerto has contrastive relationship with tempo and structure. Five chapters are contained in this study. The first chapter explains the purpose, content, methods, and procedures of this paper. The second chapter is generally statement of Hungarian music history, and the variety of traditional folk music. There are the biography and music style of Dávid in the third section chapter two. The third and fourth chapters are aimed at the structure, material, tonality and harmony of this work, and provide the suggestion of how to interpret this concerto. According to the research, the author wishes to find an appropriate expression of the composer’s images conveyed in the music. The final chapter is the acquaintance and conclusion of the author.
APA, Harvard, Vancouver, ISO, and other styles
47

Lu, Yi, and 盧薏. "An Analysis and Interpretation of Arnold Bax’s Sonata for Viola and Piano." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/74s6wu.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

Lu, Tze-Hsuan, and 盧思璇. "The Analysis and Interpretation of George Rochberg Sonata for Viola and Piano." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/01027528548294764348.

Full text
APA, Harvard, Vancouver, ISO, and other styles
49

Kim, Min Jung Sinaisky Ilya. "The virtuoso violinist as composer from the Baroque period through the 20th century compositional insights and innovations." 2007. http://hdl.handle.net/1903/9727.

Full text
APA, Harvard, Vancouver, ISO, and other styles
50

Siegel, Lawrence Siegel Lawrence. "Schubert's harmonic geometry structural means in the first movement of the B♭ piano sonata (D. 960) ; [Sonata, viola and piano (1982)] /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/23812888.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Chaconnes (Viola and piano)' for other source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography