Dissertations / Theses on the topic 'Chamber music – 19th century – History and criticism'
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Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.
Full textChung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.
Full textForward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
Full textDeruchie, Andrew. "The French symphony at the fin de siècle style, culture, and the symphonic tradition /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115596.
Full textPrevious critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed.
My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.
Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.
Full textSchool of Music
Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.
Full textMulvey, Margaret N. "The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278639/.
Full textSchuppener, James Gregory. "Felix Mendelssohn-Bartholdy, director of music for the Berlin Court: Influences upon his unaccompanied compositions written for the Berlin "Domchor"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185735.
Full textReilly, Olivia. "An epicure in sound : Samuel Taylor Coleridge and music." Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.719835.
Full textClayden, Mark John. "Music, timbre, colour in fin-de-Siècle Vienna : Zemlinsky, Schreker, Schoenberg." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:73c4d92f-5754-43d0-b07d-31975ad0539c.
Full textSorensen, Randall J. "Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.
Full textSchool of Music
Lewis, Michael E. (Michael Edward) 1952. "Solo Trombone Performances at the Gewandhaus in the Nineteenth Century: a Lecture Recital, Together with Three Recitals of Selected Works of G. Jacobs, S. Sulek, E. Bloch, C. Wagenseil, W. Ross, G. Pergolesi, T. George, F. Hidas, J. Albrechtsberger and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331410/.
Full textMainente, Renato Aurélio. "Música e civilização : a atividade musical no Rio de Janeiro oitocentista (1808-1863) /." Franca : [s.n.], 2012. http://hdl.handle.net/11449/93236.
Full textBanca: Paulo Knauss
Banca: José Adriano Fenerick
Resumo: No decorrer do século XIX, a música e o teatro lírico ocuparam lugar de destaque no cenário musical do Rio de Janeiro. Após o desembarque da corte portuguesa, em 1808, a cidade assistiu a inauguração de novos teatros e passou a receber a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com óperas e peças musicais de sucesso na Europa. Embora apresentando um leve declínio entre as décadas de 30 e 40 do oitocentos, a atividade musical continuou ocupando um espaço privilegiado na sociedade fluminense, figurando também nas páginas de diversos periódicos do período. Em tais textos, os escritores e colunistas abordavam os mais variados relacionados à música, desde a programação teatral até a descrição do ambiente dos teatros e comportamento dos espectadores. Entre as principais tópicas, estava a preocupação com o desenvolvimento de uma música de inspiração nacionalista, ideal que culminou com a fundação da Imperial Academia de Música e Ópera Nacional em 1857. No âmbito dessa instituição, um número significativo de óperas nacionais foi levada aos palcos da cidade. É objetivo desse trabalho, portanto, analisar os artigos e crônicas acerca da música publicados em jornais e revistas oitocentistas, juntamente com os libretos de óperas nacionais produzidas no período, buscando identificar os principais tópicos presentes nestes textos; isto é, identificar os principais critérios de análise e expectativas dos homens de cultura do período em relação à atividade musica, e, principalmente, à produção de uma música de inspiração nacionalista
Abstract: During the nineteenth century, music and lyric theater occupied a prominent place in the music scene in Rio de Janeiro. After the landing of the Portuguese court in 1808, the city saw the opening of new theaters and went on to receive the presence of foreign musicians and opera companies, providing a contact with opera and musical theater success in Europe. Although showing a slight decline between 30 and 40 decades of the eighteenth hundred, musical activity continued to occupy a privileged place in fluminense society, also appearing in the pages of several journals of the period. In such texts, the writers and columnists addressed various aspects related to music, since programming of theaters even description of the theatrical environment and viewing behavior. Among the main topics was the concern with the development of a music-inspired nationalist ideal, that culminated in the founding of the Imperial Academy of Music and National Opera in 1857. Within this institution, a significant number of national opera was set up to the stage of the city. It is the aim of this work, therefore, to examine the articles and chronicles about the music published in nineteenth-century newspapers and magazines, along with the librettos of national operas produced in the period, seeking to identify the main topics contained in these texts; that is, identify the mains rules for analysis and expectations of intellectual of the period in relation to musical activities, and especially the production of a nationalistic music
Mestre
Mainente, Renato Aurélio [UNESP]. "Música e civilização: a atividade musical no Rio de Janeiro oitocentista (1808-1863)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93236.
Full textFundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
No decorrer do século XIX, a música e o teatro lírico ocuparam lugar de destaque no cenário musical do Rio de Janeiro. Após o desembarque da corte portuguesa, em 1808, a cidade assistiu a inauguração de novos teatros e passou a receber a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com óperas e peças musicais de sucesso na Europa. Embora apresentando um leve declínio entre as décadas de 30 e 40 do oitocentos, a atividade musical continuou ocupando um espaço privilegiado na sociedade fluminense, figurando também nas páginas de diversos periódicos do período. Em tais textos, os escritores e colunistas abordavam os mais variados relacionados à música, desde a programação teatral até a descrição do ambiente dos teatros e comportamento dos espectadores. Entre as principais tópicas, estava a preocupação com o desenvolvimento de uma música de inspiração nacionalista, ideal que culminou com a fundação da Imperial Academia de Música e Ópera Nacional em 1857. No âmbito dessa instituição, um número significativo de óperas nacionais foi levada aos palcos da cidade. É objetivo desse trabalho, portanto, analisar os artigos e crônicas acerca da música publicados em jornais e revistas oitocentistas, juntamente com os libretos de óperas nacionais produzidas no período, buscando identificar os principais tópicos presentes nestes textos; isto é, identificar os principais critérios de análise e expectativas dos homens de cultura do período em relação à atividade musica, e, principalmente, à produção de uma música de inspiração nacionalista
During the nineteenth century, music and lyric theater occupied a prominent place in the music scene in Rio de Janeiro. After the landing of the Portuguese court in 1808, the city saw the opening of new theaters and went on to receive the presence of foreign musicians and opera companies, providing a contact with opera and musical theater success in Europe. Although showing a slight decline between 30 and 40 decades of the eighteenth hundred, musical activity continued to occupy a privileged place in fluminense society, also appearing in the pages of several journals of the period. In such texts, the writers and columnists addressed various aspects related to music, since programming of theaters even description of the theatrical environment and viewing behavior. Among the main topics was the concern with the development of a music-inspired nationalist ideal, that culminated in the founding of the Imperial Academy of Music and National Opera in 1857. Within this institution, a significant number of national opera was set up to the stage of the city. It is the aim of this work, therefore, to examine the articles and chronicles about the music published in nineteenth-century newspapers and magazines, along with the librettos of national operas produced in the period, seeking to identify the main topics contained in these texts; that is, identify the mains rules for analysis and expectations of intellectual of the period in relation to musical activities, and especially the production of a nationalistic music
Carnes, Tara Barker. "Hartley Wood Day: Inventor of Numeral Notation and Adversary of Lowell Mason." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500655/.
Full textWolfinbarger, Steve M. "The Nineteenth-Century German Tradition of Solo Trombone Playing: A Lecture Recital, Together with Three Recitals of Selected Works of E. Bozza, W. Hartley, A. Frackenpohl, A. Pryor. G. Frescobaldi. L. Grondahl, P. Bonneau and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331705/.
Full textWatson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.
Full textFalterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.
Full textMonroe, Jonathan. "A Selection of Nineteenth Century Trumpet Literature for Low F Trumpet: A Performance Edition of F.G.A. Dauverné's Variations op. 3 and Amilcare Ponchielli's Concerto per Tromba e Banda op. 123." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984202/.
Full textBuck, Allison. "An investigation of the influence of central Italian folk music on composers' use of bassoon in select symphonic and large chamber works of the nineteenth century." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738074.
Full textSchool of Music
Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.
Full textThis thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.
Douglas, Barbara Jo. "Musicology or Musikwissenschaft? A Study of the Work of Carl Dahlhaus." Thesis, 1991. http://hdl.handle.net/10756/288462.
Full text"Fantasy style and generic mixture in Hummel's keyboard music: towards a reappraisal of a neglected musician's contribution to the development of nineteenth-century musical style." 2012. http://library.cuhk.edu.hk/record=b5549481.
Full text本文借鑒胡麥爾創作時期的文化背景,重新評價這位被忽視的音樂家對於開 發十九世紀鋼琴音樂所作出的貢獻。十八世紀後期中產階級的興起令音樂會 不斷增加,鋼琴演奏家不但成爲音樂會中的主要角色,而且他們所演奏的 「流行音樂」對於後世鋼琴技巧及音樂創作的發展,有舉足輕重的影響。
胡麥爾的鋼琴作品顯露出嶄新的作曲手法,當中包括較自由的轉調和曲式結 構,以及特別的音形法等,均源自音樂會中常出現的即興演奏,亦即「幻想 曲風格」。胡麥爾在正統器樂體裁的語境中引入幻想曲的技法,展示出流行 曲風格與正統音樂的結合,並開創了混合體裁的先河。其中,幻想曲與奏鳴 曲的混合體裁,對於後世的浪漫派作曲家如簫邦和舒曼等的創作模式尤有啓發。
Johann Nepomuk Hummel (1778-1837) was an Austrian pianist, composer,teacher, and conductor who was described in his time as one of Europe's greatestpianist-composers. However, his music has been neglected and underestimated inmodem times, and is not considered to have any lasting influence on later compositional developments in the 19th century.
The present study aims to demonstrate that, though identified as a conservative composer, Hummel played an important transitional role in the evolution between Classical and Romantic styles. I argue that the post-classicalpianism that he cultivated presaged many significant stylistic trends of later composers, and that these were stimulated by the rise of public concerts. The demand for virtuosic performances by middle-class concert audiences led pianistcomposers like Hummel to explore new modes of improvisation, which in turn had a profound impact not only on keyboard technique, but also on compositional practice.
A comprehensive study of Hummel's piano music reveals a new compositional practice featuring juxtaposition of different figurations, freedom of modulation, and new formal structures. The fantasy style derived from concert 11 improvisations came to be incorporated in different keyboard genres, resulting in generic mixture. In particular, the hybrid fantasy-sonata foreshadowed the later practice of Schumann and Chopin, and contributed towards the merging of serious and popular styles in Romantic piano music.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Kam, Cheok Weng.
"December 2011."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 160-174).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
List of Figures --- p.vii
List of Music Examples --- p.ix
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Cultural Contexts for Hummel's Post-Classical Keyboard Style
The Rise of Public Concerts --- p.10
The Development of Piano Music --- p.11
Technical Innovations in Post-Classical Pianism --- p.12
The Viennese Piano Style --- p.17
The English Piano Style --- p.21
Hummel's Keyboard Writing: Viennese Features --- p.28
The Influence of the English Style --- p.31
Legato Touch and the Chopin Style --- p.36
Technical Innovations --- p.40
Chapter Chapter Three --- Generic Transformation in Hummel's Piano Sonatas --- p.48
The Keyboard Sonata in Hummel' s Time --- p.51
Changing Approaches to Sonata Form --- p.56
Hummel's Early Piano Sonatas --- p.61
Sonata in F minor, Op. 20 --- p.67
Sonata in C major, Op. 38 --- p.77
Sonata in F-sharp minor, Op. 81 --- p.82
Sonata in D major, Op. 106 --- p.93
Chapter Chapter 4 --- The Evolution of Fantasias and Generic Innovations --- p.107
Improvisation and Fantasy Style in the Eighteenth Century --- p.108
The Eighteenth-Century Free Fantasia --- p.111
Changing Conceptions of the Fantasy From C.P.E. Bach to Mozart --- p.118
Changing Role of Improvisation in Performance Practice --- p.124
From Harmonic Thinking to Thematic Thinking --- p.129
Hurnmel's Fantasy Op. 18: The Fantasy-Sonata Hybrid --- p.134
Chapter Chapter 5 --- Other Types of Generic Mixture Prompted by Fantasy Style --- p.141
Generic Mixture with Theme and Variations --- p.142
Caprices --- p.148
Potpourri --- p.150
Rondo --- p.152
Chapter Chapter 6 --- Conclusion --- p.156
Bibliography --- p.160
Hwang, Hyunyoung. "A musical discussion and analysis of romance sans paroles by three French composers : Charles-Francois Gounod, Camille Saint-Saens and Gabriel Faure." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738934.
Full textSchool of Music
Wernicke, Rose. "The Farmland Opera House : culture, identity, and the corn contest." Thesis, 2013. http://hdl.handle.net/1805/4663.
Full text