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Freyermuth, Jessie L. "An analysis of the musical interpretations of Nina Simone." Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/4121.
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Lau, Hiu Yan Crystal. "Objective Measure of Two Musical Interpretations of an Excerpt from Berlioz's "La Mort d'Ophelie"." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586877620452912.
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Terada, Yoshitaka. "Multiple interpretations of a charismatic individual : the case of the great Nagasvaram musician, T.N. Rajarattinam Pillai /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11256.
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Tutton, Virginia W. "A STUDY OF THE VARYING INTERPRETATIONS OF THE OPENING FLUTE SOLO IN DEBUSSY’S PRELUDE A L’APRES-MIDI D’UN FAUNE THROUGH 90 YEARS OF SOUND RECORDINGS; WITH SPECIAL CONSIDERATION FOR THE PERFORMANCES AND PEDAGOGY OF WILLIAM KINCAID." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/117.
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Claude Debussy's Prelude a l’apres-midi d’un faune [Prelude to the Afternoon of a Faun] opens with an unaccompanied flute solo that famously tests breath control, tone production, and capacity for musical expression. All aspiring flutists must master this solo, because it is frequently requested on orchestral and collegiate auditions. To aid flutists in their preparation, many notable pedagogues and performers have provided written and verbal commentary with suggestions for crafting a successful performance; however, it is unclear whether or not actual performances reflect these teachings. In other words, do the pedagogues practice what they preach? This study uses audio analysis to objectively analyze quantifiable aspects of ninety years of recordings of Prelude a l’apres-midi d’un faune and compares the results to current pedagogy. This study’s findings fall into four categories: (1) breath placement, (2) tempo and rubato, (3) vibrato, and (4) general expression. Because of the influence and historical significance of American flutist William Kincaid, a giant of twentieth-century performance and pedagogy, special consideration is given to specific recordings and teaching of Kincaid. The analysis that follows demonstrates disparity between performance practice and pedagogy and will allow flute students and teachers to make better-informed decisions interpreting Prelude a l’apres-midi d’un faune.
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McCracken, Chelsea. "Contradiction in the tragic musical /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/372.pdf.
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Sperb, Guilherme. "O estudo do método de Fernando Sor e sua interação com a construção de uma interpretação para Sonata, op. 25." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55418.
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O presente trabalho aborda a interação entre a utilização do Méthode pour la Guitare (1830) de Fernando Sor com o processo de construção de interpretação da Sonata op. 25, do mesmo autor. O trabalho foi norteado pela hipótese de associação entre as concepções técnicas e composicionais de Sor, articuladas em seu Método, e sua correspondente tradução em sua escrita violonística. Através desse cotejo, traçaram-se claras possibilidades de associação, e concluiu-se positivamente na utilização do Método como ferramenta complementar na interpretação da música de Fernando Sor.The present work concerns the interaction between the use of the Méthode pour la guitare (1830) by Fernando Sor and the process of constructing an interpretation for the Sonata op. 25, by the same author. The work‟s main hypothesis was the association between technical and compositional conceptions of Sor, displayed in his Method, and their correspondent translation into his guitar compositional writing. Through this association, clear relationships were established and the work was conclusive on the positive use of the Method as a complementary tool for the interpretation of Fernando Sor‟s music.
El presente trabajo aborda la interacción entre la utilización del Méthode pour la guitare (1830) de Fernando Sor con el proceso de construcción de una interpretación para la Sonata op. 25, del mismo autor. La hipótesis del trabajo fue la asociación entre las concepciones técnicas y compositivas de Sor, articuladas en su Método, y su correspondiente traducción en su escritura guitarrística. Por medio de este cotejo, se trazaron claras posibilidades de asociación, y se concluyó positivamente por el uso del Método como herramienta complementaria en la interpretación de la música de Fernando Sor.
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Moura, Junior Nivaldo Camargo de. "Agrupamento de notas: aplicação do conceito interpretativo na obra estudo para trompete em Dó, de Camargo Guarnieri." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7343.
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Abstract: The present research was developed through the application of the Group of Notes, concept presented by James Morgan Thurmond (1991) in the book: Note Grouping: A Method for Achieving Expression and Style in Musical Performance, being used as tool for interpretative suggestion in the work Estudo Para Trompete em Dó, by the Brazilian composer Camargo Guarnieri. Initially a bibliographical survey was carried out on the research and repertoire productions related to the interpretive practices for solo trumpet in Brazil, as well as a historical and methodological linkage of musical expressiveness, approaching the pedagogy of musical expressiveness, the grouping of notes and finally the application of this concept as an interpretative suggestion in specific sections of the work, object of study researched.
Resumo: A presente pesquisa desenvolveu-se através da aplicação do Agrupamento de Notas, conceito apresentado por James Morgan Thurmond (1991) no livro: Note Grouping: A Method for Achieving Expression And Style in Musical Performance, utilizando-se como ferramenta para sugestão interpretativa na obra Estudo para trompete em Dó, do compositor brasileiro Camargo Guarnieri. Inicialmente realizou-se um levantamento bibliográfico sobre as produções de pesquisas e repertório relacionados às práticas interpretativas para trompete solo no Brasil, bem como uma vinculação histórica e metodológica da expressividade musical, abordando a pedagogia da expressividade musical, o agrupamento de notas e, por último, a aplicação deste conceito como sugestão interpretativa em trechos específicos da obra, objeto de estudo pesquisado.
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Razumovskaya, Maria. "Heinrich Neuhaus : aesthetics and philosophy of an interpretation." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.
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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography which became decisive factors in the formation of his key aesthetic, philosophical, pedagogical and performative beliefs. The diverse national influences in Neuhaus's upbringing - from his familial circumstances, European education and subsequent career in Russia - are investigated in order to help locate Neuhaus within the wider contexts of Russian and Central European culture at the turn of the nineteenth and twentieth centuries. In addition, this introduction will highlight ways in which Neuhaus's national identity has been oversimplified in recent literature by both Russian and non-Russian authors. Whilst this thesis draws on a range of contemporaneous and recent international sources throughout its investigation, it presents a substantial amount of Russian-language material that has previously been unavailable in an English translation: this includes many writings and articles by Heinrich Neuhaus, his colleagues and the leading musicologists and critics of his time. The core of the thesis traces Neuhaus's personal philosophical approach to the act of performance and explores the impact it had on his interpretations of Beethoven and Chopin. This will show that despite aspiring to a modern, Urtext-centred approach and sensibility to the score, Neuhaus's Romantic subjectivity meant that he was unafraid of making assumptions and decisions which often misinterpreted or transformed the image of the composer to reflect his own artistic identity. Thus, the investigation of Heinrich Neuhaus as a performing artist, alongside his role as a pedagogue, presents a powerful model of interpretation as a creative process, from which performers today can learn.
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Bacovis, Andrey Costa. "Elementos formais, texturais e interpretativos nas sonatas para piano de João Domingos Bomtempo (1775-1842) /." São Paulo, 2017. http://hdl.handle.net/11449/151901.
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Orientador: Nahim Marun FilhoBanca: Eduardo Seincman
Banca: Luiz Brito Passos Amato
Abstract: This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo's piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo's Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities.
Resumo: Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas.
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Evans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.
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Sandvik, Jan. "Examination concert : Interpreting music by three different composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.
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This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.Christoffer Pörn: Tre berättelser för piano
Johannes Brahms: Trio för piano, klarinett och cello op 114
Christoffer Pörn: Tre etyder för piano
Charles-Valentin Alkan: Symfoni för piano op 39
Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello
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Oda, Tomoo Thomas. "Many spheres of music : hermeneutic interpretation of musical signification." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/4456/.
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Considerable interest has been shown in the field of music aesthetics in recent years, not only by aestheticians but also by writers from diverse fields such as musicology, psychology and linguistics. What we have witnessed in these discussions have been not only painstaking analyses of music in terms of its aesthetic value, but also explorations of music in relation to a varied range of research areas from examining the relations between music and mind using psychological methods, through evaluating music in terms of our post-modem notion of art, to exploring the relations between language and music in terms of their semantic and semiotic characteristics. Such accounts typically seek to show that music is more than mere sound, and, in particular, several accounts focus on its expressiveness and its possibility of conveying a certain significance.
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Nylander, Julia. "Mer än bara sångteknik : En självstudie i musikalisk- och scenisk gestaltning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-77928.
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Denna studie behandlar en sångares önskan att belysa och utveckla sina metoder och sin insikt i interpretation och dess betydelse för sång. Det är en självstudie som med hjälp av videoobservation dokumenterat åtta övningstillfällen av en musikallåt. Syftet är att ur ett designteoretiskt perspektiv identifiera vilka resurser som använts vid musikalisk och scenisk gestaltning, hur de används, samt dess inverkan på sången. Genom transkription och analys av det inspelade materialet skapas tre kategorier: materiella, kroppsliga, och språkliga resurser. I resultatet redovisas dessa kategorier och kopplas till sångteknik. Slutligen diskuteras resultatet i förhållande till designteori och relevant forskning. Nyckelord: musikalisk- och scenisk gestaltning, interpretation, designteori, videodokumentation, självstudie, musikalThis study addresses a singers desire to highlight and expand their methods and insight into interpretation and its importance for singing. It is a self-study that, with the help of video observation has documented eight practice sessions of a musical theatre song. The purpose is to use design theory to identify what resources are used in musical- and theatrical interpretation, how they are used and their impact on the singing. Three categories are created by transcription and analysis of the recorded material: material, physical, and linguistic resources. In the result, these categories are reported and linked to song technique. Finally, the results are discussed in relation to design theory and relevant research. Keywords: musical- and theatrical interpretation, interpretation, design theory, video documentation, self study, musical theatre
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Elmquist, Hanna. "INTERPRETATION INOM SÅNG- PEDAGOGIK I DEN AFROAMERIKANSKA GENREN." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2053.
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Abstract svenska Studiens syfte var att undersöka hur sångundervisning idag tar sig an interpretation, med inriktning på musikergymnasium. Idag känner många sångelever till begreppet och har varit i kontakt med det i sin undervisning, men då jag själv utbildades var så inte fallet. Denna studie undersöker därför om och hur utveckling skett på området. Interpretation är även ett bekant begrepp för den som ägnar sig åt exempelvis musikal, eller opera, men det är inte lika vanligt att man talar om begreppet inom jazzvärlden, således har jag valt att inrikta mig på att undersöka de afro- amerikanska genrerna, och med det avses för det mesta pop, soul, jazz, visa, blues. Studien använder sig av intervjuer, deltagande observationer, samtal och litteratur. Jag har närvarat vid två musikgymnasium, och informanterna i studien är sångerskor och sångpedagoger inom afro-genren. Analysen visar att inom litteraturen på området rör det sig främst om metodik för musikal och/eller opera, dock är dessa metoder även anammade inom de afro- amerikanska genrerna för det mesta. De måste dock modifieras och användas annorlunda då sångare inom afro- genren oftast icke har så givna scenarion att förhålla sig till som inom opera och musikal, vilket jag upptäckt under mina deltagande observationer vid två musikergymnasium. Detsamma framgår i de intervjuer jag genomfört. Undervisningen i interpretation blir således ett verktyg för att utveckla sin förmåga till uttrycksfullhet. Nyckelord: sångare, interpretation, jazz, utbildning, musikal, opera, sång.Abstract The purpose of the study was to investigate how teaching song deals with interpretation, especially in the afro- american genre and with focus on music-profiled high schools in Sweden. A lot of younger students of music and song today are familiar with the concept, but so that was not the case when I was a student, so I wanted to examine what methods are used, and how. The literature mostly revolves around interpretation in relation to opera and musicals, so I wanted to examine what methods are used in the afro- American genres, such as pop, soul, folk, jazz and so on. The difference being that in those genres you don’t have the same elaborate story or scene to relate to as you do in opera and musical. I went about the study in several ways, all informants involved are singers and/or song- teachers, and I have interviewed, and observed, and discussed and read literature in order to find out just how interpretation is integrated with the song- education of young singers of today. The analysis shows that often the same methods are used as in dealing with opera and musical, but the expectations on how you use these methods vary, and it is often more used as a technique to develop your skills of how to be express full in your singing, than to how you should act on stage. What you lose in the afro- american genres is the given scenario that often opera and musical- students have to take into consideration. Key- words: singers, interpretation, jazz, education, musical, opera, song
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Johnson, Randolph Burge. "Selected Topics in the Perception and Interpretation of Musical Tempo." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275412104.
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Ângelo, Jackes Douglas Nunes. "O gesto musical na interpretação de três obras para trombone de Estércio Marquez Cunha." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4935.
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This article is result from combination of interpretive practice, bibliographic study into musical gesture, analysis of the interpreted musical works, and reporting my experience as interpreter. Is made here a gesture study in musical performance and its possible potential to optimize the interpretative communication between performer and pubic. For this, we used three music pieces for trombone by composer Estércio Marquez Cunha. Backed in bibliographical searches as well as in my experience report into the preparation and interpretation of the musical works, this research describes the relationship between performance and musical gesture. From the interpretative analysis, it was found multiple instances in which musical gesture, coupled with body movement, likely to influence the interpreter expressiveness, interfering therefore directly at the moment of performance.
O presente artigo é o resultado de uma combinação da prática interpretativa, estudo bibliográfico sobre gesto musical, análise de obras interpretadas e relato da minha experiência como intérprete. Faz-se aqui um estudo acerca do gesto na performance musical e seu possível potencial de otimizar a comunicação interpretativa entre intérprete e púbico. Para tanto, foram utilizadas três obras para trombone do compositor Estércio Marquez Cunha. Com respaldo em pesquisas bibliográficas e em meu relato de experiência na preparação e interpretação das obras, esta pesquisa descreve a relação entre o gesto musical e a performance. A partir das análises interpretativas, foram encontrados vários momentos em que o gesto musical, juntamente com o movimento corporal, tendem a influenciar na expressividade do intérprete, interferindo, assim, diretamente no ato da performance.
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Silva, Gilvando Pereira da. "Inventiva nº1 para trombone solo Francisco Fernandes Filho (Chiquito): estudo estilístico e interpretativo." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6604.
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This paper discusses the challenge of the trombone performance in interpreting the work Inventiva No. 1 for solo trombone Francisco Fernandes Filho, known as Maestro Chiquito. The first stage of this research deals with the history of the composer's life, contemplating with his characters and events the importance of Maestro Chiquito for instrumental music of Paraiba. The second approach we intend to do a technical and expressive elements of a general scope of the music written for trombone, and stylistic elements found in the composer's work for trombone above. In the third and last, we demonstrate the concepts of interpretative Inventiva No. 1 for solo trombone, which represent a considerable portion of relevance to the trombone repertoire in Brazil. In the methodology of this research were readings that underlie the concepts of musical performance of the performer, the compositional process of music for trombone, as well as discussions about the work being studied in order to have an understanding of the concepts and interpretive style for the executed, where we use various instruments to collect data such as photographs, interviews and analysis of the interviews, addition to the literature review and consultation Internet. It is hoped that with this whole process seen and analyzed on the music written for the trombone Maestro Chiquito, serve as a parameter to other trombonists will use as study material.
Este trabalho discute o desafio da performance do trombonista em interpretar a obra Inventiva nº1 para trombone solo de Francisco Fernandes Filho, conhecido como Maestro Chiquito. O primeiro capítulo desta pesquisa trata da história de vida do compositor, contemplando com seus personagens e eventos a importância do Maestro Chiquito para a música instrumental da Paraíba. No segundo capítulo buscamos uma abordagem dos elementos técnicos e expressivos num âmbito geral da música escrita para trombone, bem como os elementos estilísticos encontrados na obra para trombone do compositor acima citado. No terceiro e último capítulo demonstramos as concepções interpretativas da Inventiva nº1 para trombone solo, que constituem considerável parcela de relevância para o repertório do trombone no Brasil. Na metodologia desta pesquisa foram feitas leituras que fundamentaram os conceitos da performance musical do instrumentista, o processo composicional da música para trombone, bem como, discussões a cerca da obra em estudo, afim de se ter um entendimento das concepções interpretativas e de estilo para a execução da mesma, onde utilizamos de vários instrumentos de coleta de dados,como, fotografias, entrevistas e análise das entrevistas, além da revisão bibliográfica e consulta a internet. Espera-se com isso, que todo o processo visto e analisado sobre a música escrita para trombone do Maestro Chiquito, sirva de parâmetro para que outros trombonistas venham a utilizar como material de estudo.
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Oliver, Benjamin. "Portfolio of musical composition : integration in music : controlling diverse methods of expression within the context of the globalisation of musical culture." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6260/.
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Musical culture is increasingly globalised and technology allows us to engage with an evermore diversified range of musical approaches, traditions and sound-worlds. How composers react to this diversity of musical approaches is an important theme in contemporary composition. My approach to composition within this globalised situation has been to focus on the notion of ‘integration' and creating structurally consistent score-based frameworks. I have composed a portfolio of work that reflects the central focus of ‘integration', concentrating on three inter-related research areas: 1. Exploring how one can integrate or frame improvisation and/or electronics into notated structural frameworks. 2. Exploring the use of technology to translate or integrate material generated through improvisation into notational practice. 3. Developing a coherent and individual technique and aesthetic that draws on structural influences from a range of musical idioms, but never resorts to cliché or pastiche. My exploration of integration in writing the compositions in this portfolio has been primarily technical. I am fundamentally interested in the ‘nuts and bolts' of composition, how musical materials can fit together and interact. Therefore although the character and substance of the different materials I engage with is important, my foremost preoccupations when composing are the formal and technical aspects such as: structure and proportion; pitch and rhythmic organisation; orchestration technique; the use of extended notations; and compositional processes such as abstraction, permutation and rotation. As I outline in my commentary the composition in this portfolio reflects my aesthetic position that working with an eclectic range of musical materials and diverse methods of expression such as improvisation and electronics is not an end-in-itself. By integrating diverse musical influences I am not trying to create a pluralist synthesis of different semantic paradigms, but aim to find my own innovative, coherent and consistent compositional approach.
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Silva, Felipe Garibaldi de Almeida. "Obra de Claudio Santoro para violão solo: contexto de criação, análise musical e sugestões técnico-interpretativas." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-01062015-153437/.
Full textAbstract:
A obra de Claudio Santoro (1919-1989) para violão é representativa de um importante segmento do repertório de concerto do violão brasileiro, constituído pela produção de compositores não violonistas para o instrumento. Tal segmento é frequentemente olvidado por grande parte dos intérpretes e do público. O presente trabalho tem como objetivo abordar as problemáticas técnico-interpretativas presentes na obra de Claudio Santoro para violão solo e, também, sugerir soluções técnicas para a execução instrumental. Para alcançar este objetivo empreendeu-se um estudo do contexto de criação das peças segundo as tendências composicionais de Santoro, uma comparação entre as versões manuscritas e impressas da obra, análise da estrutura musical e entrevistas com violonistas que colaboraram com o compositor e cuja interpretação das peças foi por ele próprio referendada.The guitar works of Claudio Santoro (1919-1989) are representative pieces of an important part of the Brazilian concert repertoire for the instrument, formed by the contribution from composers that are not formerly guitar players. This part of the repertoire is often forgotten by most interpreters on the instrument and, consequently, by most of the public as well. The present study deals with the idiomatic complexities in the guitar work of Claudio Santoro and suggests technical solutions for performance. In order to accomplish this, a musical analysis of the pieces was elaborated, as well as interviews with the main interpreters of the guitar work of Claudio Santoro. Also an investigation on the compositional context of the pieces and accurate confrontation between manuscripts and edited scores provide here an enlightened view of Santoro\'s guitar music.
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Santos, Sidney Ricardo Gomes dos. "As escolhas interpretativas do maestro na contemporaneidade face a tradição musical: um estudo de caso com a 5ª. Sinfonia de Tchaikovsky." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/7097.
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This article discusses the relation between the orchestral conductor’s performanceand the musical interpretativetraditionshaving as case study the 5th Symphony by PyotrIlych Tchaikovsky. It is fundamented on thinkers as Castagna (2008) on the score editions, Silva & Silva (2009) on tradition in musical performance and Laboisiése (2007) on musical interpretation. As the methodology, it were investigated twelve editions of the score object of this study, twelve representative recordings thereof, among which, renowned conductors such as Claudio Abbado, Bernstein and Karajan, as well as prepared and presented by the author with the Youth Symphony Orchestra of the State of Goiás. The conclusions point that the tradition of musical performance can have a major influence on the conductor in contemporary times and therefore requires a reflection on the break or not paradigms established by the tradition of the art of orchestral conducting in canonical works.
O presente artigo discutea relação entre a performance do maestro na contemporaneidade e as tradições interpretativas musicais tendo como estudo de caso a 5ª. Sinfonia de Tchaikovsky, obra canônica do repertório orquestral. Toma-se como fundamentos teóricos os pensadoresCastagna (2008) sobre as edições de partitura, Silva & Silva (2009) sobre tradição na performance musical e Laboissiére (2007) sobre interpretação musical. Foram investigadasdoze ediçõesda partitura da obra objeto deste estudo, doze gravações representativas da mesma, dentre as quais, de renomados maestros como Claudio Abbado, Bernstein e Karajan, além de preparada e apresentada por esse autor junto à Orquestra Sinfônica Jovem do Estado de Goiás. Constatou-se quea tradição da performance musical pode ter uma grande influência sobre o maestro na contemporaneidade e, portanto, exige-se uma reflexão sobre a quebra ou não de paradigmas estabelecidos pela tradição da arte da regência nas obras canônicas orquestrais.
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Silva, Anderson Afonso. "Música para trompa e sixxen, de Estércio Marquez Cunha: resultados sonoros na colaboração entre compositor e intérprete." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7291.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work is the result of an experience acquired in the study of composer-interpreter relations, under the performer's view. The central axis of this research is to develop, along with Estércio Marquez Cunha, new possibilities of the horn resources in relation to the Sixxen. Firstly, a bibliographical study of the collaborative role between interpreters and composers, referenced in BRANDINO 2012, ISHISAKI and MACHADO 2013, RAMOS 2013, RAY 2013 and ROSSI and BARBOSA 2015, is undertaken to understand the collaboration path of these two crucial pieces for the making of music. For its novelty in Brazil, the second part is dedicated to the Sixxen, investigating about conception, repertoire and its trajectory until Goiânia, with support in the study done by MORAIS, CHAIB and OLIVEIRA, 2016. For the optimization of the research, the third part is intended in the report of the experience in the course of the collaboration of this researcher as an interpreter with the composer. In this part, the specificities of sound effects in the horn are demonstrated and instructed in how the composer idealized the work in question by virtue of the experiments performed with the interpreter. The main results that the research brings is the contribution of the world contemporary repertoire for both instruments, evidenced through the language of the composer in question and thus have generated an explanatory didactic material for the techniques extended in the horn.
Este trabalho é fruto de uma de experiência adquirida no estudo das relações compositor-intérprete, sob olhar do performer. O eixo central desta pesquisa está em explorar, juntamente com Estércio Marquez Cunha, novas possibilidades dos recursos da trompa em relação ao Sixxen. Primeiramente, faz-se um estudo bibliográfico do papel colaborativo entre intérpretes e compositores, referenciados em BRANDINO 2012, ISHISAKI e MACHADO 2013, RAMOS 2013, RAY 2013 e ROSSI e BARBOSA 2015, a fim de compreender o caminho de colaboração dessas duas peças cruciais para o fazer musical. Pelo seu ineditismo no Brasil, a segunda parte é dedicada ao Sixxen, investigando a respeito de concepção, repertório e sua trajetória até Goiânia, com respaldo no estudo feito por MORAIS, CHAIB e OLIVEIRA, 2016. Para otimização da pesquisa, a terceira parte destina-se no relato da experiência ao decorrer da colaboração deste pesquisador enquanto intérprete com o compositor. Nesta parte, demonstra-se e instrui as especificidades dos efeitos sonoros na trompa, em como o compositor idealizou a obra em questão em virtude das experimentações realizadas com o intérprete. Os principais resultados que a pesquisa traz é da contribuição do repertório contemporâneo mundial para ambos intrumentos, evidenciada por meio da linguagem do compositor em questão e assim ter gerado um material didático explicativo para as técnicas extendidas na trompa.
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Tavares, Manuel Augusto Coelho Gonçalves. "Modelos interpretativos contemporâneos em Carlos Seixas." Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/4639.
Full textAbstract:
Mestrado em MúsicaCarlos Seixas é um compositor português com uma obra notável e multifacetada, susceptível de muitas análises e hipóteses surpreendentes. Como é interpretado hoje em dia Carlos Seixas? Neste trabalho fui ao encontro dos instrumentistas que abordam a sua obra e através de um questionário foi auscultada a sua opinião sobre vários aspectos performativos. Este estudo pretende antes de mais ser um contributo para a divulgação da obra de Carlos Seixas apontando caminhos para a sua interpretação. Será feita uma abordagem dos movimentos performativos contemporâneos e da obra de Carlos Seixas. Seguidamente abordarei a metodologia empregue na realização e análise do questionário e por último uma conclusão que englobe os dados obtidos, não só com aquilo que hoje se sabe sobre Seixas, mas também com as principais tendências de interpretação contemporâneas
Carlos Seixas is a Portuguese composer with a multifaceted work, which can be a target of many surprising analyses and hypotheses. How is interpreted nowadays Carlos Seixas? In this work I meet some of the most important performers that approach its work and through a questionnaire their opinion on some performative aspects was auscultated. This study it intends to be a contribution for the spreading of the work of Carlos Seixas, pointing ways to its interpretation. A boarding of the modern performative movements and the work of Carlos Seixas will be made. After that I will approach the methodology that I used in the accomplishment and analysis of the questionnaire and finally a conclusion, that will relate the acquired data, not only with what today is knowned about Seixas, but also with the main trends of the modern interpretation movements.
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Papadopoulos, Marios. "Motion in music : a study of movement and time through musical interpretation." Thesis, City University London, 1996. http://openaccess.city.ac.uk/7769/.
Full textAbstract:
'Motion in Music' is a study of movement and time through musical interpretation. It looks at ways in which motion, both physical and conceptual, is featured in the musical performance and it is, therefore, written with the performance of music in mind. As such, it provides us with a fresh approach to music-making. The study is based on a series of definitions and a distillation of personal experiences rather than a summation of experimental observations. In view of the author's musical background, the piano is featured most prominently in this study. In Chapter I, we examine the background on the subject and, so as to determine to what extent such motion is virtual and to what extent real, we look at it in its aesthetical, psychological and philosophical contents. The act of music-making is then analysed in four stages: from the preparatory, to the moment contact is made with the instrument and to the passage through time from one note to the onset of the next. The concept of the 'sphere', as representing the musical tone, is introduced in order to trace the course of this sonorous body through tonal space. In the ensuing chapters, we examine the forces which initiate sound - the mechanisms of the instrument and the mechanics of the body - and see how the tonal body reacts when these are applied. Such an investigation permits us, however loosely, to relate musical phenomena tothe laws of motion and to show how the sonorous body, once set in motion, undergoes changes to its speed, shape and direction - changes we refer to as 'speed of music', 'mass of music' and 'direction of music'. As the perception of movement in music involves directly or indirectly the participation of all our sensory system, both in the creative process of expressing the musical line and in its apprehension in the first place, we examine its effect on our tactile, auditory and visual channels of communication. In order to enhance our understanding of musical growth and musical progression further, we impart to it a visual perspective based, amongst others, on melodic contour and bodily movement as well as on the gestures of the conductor or those commonly used in the world of pedagogy. Thus, in Chapter V, a series of free hand-produced graphic representations emerge which represent such musical activity. By way of conclusion, we seek out various degrees of motion and their relationships. We identify these as being of paramount importance in producing aesthetically pleasing musical textures and propose further study as to the precise nature of such relationships.
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Marrin, Nakra Teresa (Teresa Anne) 1970. "Inside the conductor's jacket : analysis, interpretation and musical synthesis of expressive gesture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/9165.
Full textAbstract:
Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2000.Includes bibliographical references (leaves 154-167).
We present the design and implementation of the Conductor's Jacket, a unique wearable device that measures physiological and gestural signals, together with the Gesture Construction, a musical software system that interprets these signals and applies them expressively in a musical context. Sixteen sensors have been incorporated into the Conductor's Jacket in such a way as to not encumber or interfere with the gestures of a working orchestra conductor. The Conductor's Jacket system gathers up to sixteen data channels reliably at rates of 3 kHz per channel, and also provides mcal-time graphical feedback. Unlike many gesture-sensing systems it not only gathers positional and accelerational data but also senses muscle tension from several locations on each arm. The Conductor's Jacket was used to gather conducting data from six subjects, three professional conductors and three students, during twelve hours of rehearsals and performances. Analyses of the data yielded thirty-five significant features that seem to reflect intuitive and natural gestural tendencies, including context-based hand switching, anticipatory 'flatlining' effects, and correlations between respiration and phrasing. The results indicate that muscle tension and respiration signals reflect several significant and expressive characteristics of a conductor's gestures. From these results we present nine hypotheses about human musical expression, including ideas about efficiency, intentionality, polyphony, signal-to-noise ratios, and musical flow state. Finally, this thesis describes the Gesture Construction, a musical software system that analyzes and performs music in real-time based on the performer's gestures and breathing signals. A bank of software filters extracts several of the features that were found in the conductor study, including beat intensities and the alternation between arms. These features are then used to generate real-time expressive effects by shaping the beats, tempos, articulations, dynamics, and note lengths in a musical score.
by Teresa Marrin Nakra.
Ph.D.
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Llorens, Ana. "Creating musical structure through performance : a re-interpretation of Brahms's cello sonatas." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278796.
Full textAbstract:
From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.
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Gama, Joana. "Estudos interpretativos sobre música portuguesa contemporânea para piano: o caso particular da música evocativa de elementos culturais portugueses." Doctoral thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21018.
Full textAbstract:
O processo construtivo da interpretação de dez peças contemporâneas portuguesas para piano
que evocam elementos extra-musicais referentes à cultura portuguesa é o cerne desta
investigação. O seu corpus de trabalho é constituído por Lume de Chão (2003 - 2004) de Amílcar
Vasques-Dias, terras por detrás dos montes (2011) de Carlos Marecos, L’aire de l campo (2003) de Eurico
Carrapatoso, Variações sobre o Coro da Primavera (2000) de Fernando Lapa, Viagens na Minha Terra (1953 -
1954) de Fernando Lopes-Graça, Fogo Posto (2011) de João Godinho, Para EBowed-Piano, Melódica e
Field Recordings (2015) de Tiago Cutileiro e pelas versões para piano dos fados Homem na Cidade,
Barco Negro e Talvez se chame saudade da autoria, respectivamente, de Vasco Mendonça, João Madureira
e Pedro Faria Gomes, realizadas em 2007. A metodologia, assente na identificação, análise e
confrontação dos elementos extra-musicais com a música neles inspirados, mostra,
primeiramente, de que forma os compositores incorporaram essas referências nas suas peças,
para depois averiguar como o contacto com as fontes originais influencia a interpretação
musical. Nestas obras encontram-se referências a Portugal ao nível da geografia, da literatura, da
música tradicional, da música de intervenção, do fado ou das tradições populares. Ainda que
haja diversos graus de referência e impacto na interpretação, defende-se que o estabelecimento
de pontes com os elementos culturais portugueses que inspiraram a criação destas obras é um
elemento distintivo na interpretação ao piano. Este tipo de abordagem teve influência em
escolhas de carácter, expressividade, tempo, articulação e dinâmicas na interpretação das peças;
Performance studies on Portuguese contemporary music for piano: the particular case of
evocative music of elements of the Portuguese culture
Abstract:
The constructive process of the interpretation of ten Portuguese contemporary piano pieces that
evoke extra-musical aspects of the Portuguese culture is the core of this research. Its body of
work corpus consists of Lume de Chão (2003 - 2004) by Amílcar Vasques-Dias, terras por detrás dos
montes (2011) by Carlos Marecos, L'aire de l campo (2003) by Eurico Carrapatoso, Variações sobre o
Coro da Primavera (2000) by Fernando Lapa, Viagens na Minha Terra (1953-1954) by Fernando Lopes-
Graça, Fogo Posto (2011) João Godinho, Para EBowed-Piano, Melódica e Field Recordings (2015) by Tiago
Cutileiro and by versions for piano of the fado songs Um Homem na Cidade, Barco Negro and Talvez se
chame saudade composed, respectively, by Vasco Mendonça, João Madureira and Pedro Faria Gomes
in 2007. The methodology, based on the identification, analysis and comparison of the extramusical
elements with the music inspired by them, shows, firstly, how composers have
incorporated these references in their works, and then finds out how the contact with the
original sources influences the musical interpretation. These works refer to Portugal in terms of
geography, literature, traditional music, protest song, fado and popular traditions. Although
there are different degrees of reference and impact on the interpretation, it is stated that the
establishment of bridges with the Portuguese cultural elements that inspired the creation of
these works is a distinctive element in the interpretation at the piano. This approach influenced
the choices of character, expressiveness, time, articulation and dynamic in the performance of
the pieces.
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Atli, Ellendersen. "Parâmetros interpretativos para a sonata para violino solo em lá menor, BWV 1003 de J. S. Bach." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/27445.
Full textAbstract:
Resumo: Este trabalho trata de questões de interpretação de música barroca, mais especificamente de parâmetros interpretativos para a Sonata para Violino solo em Lá menor, BWV 1003 de Johann Sebastian Bach. A sonata faz parte de um conjunto de obras que são referência absoluta no repertório para violino e imprescindíveis na formação violinística. O estudo traz um resumo do debate travado no final do século XX sobre o papel do intérprete e sua relação com o texto musical e com o compositor. É apresentada uma síntese da crítica e autocrítica feita da interpretação historicamente informada e chega-se à conclusão que o movimento de música antiga é legítimo, trazendo diversificação para o cenário interpretativo. Para contextualizar a sonata, traço um histórico da música escrita para violino desde o início do século XVII até a gênese dos Sei Solo por volta de 1720. Uma análise é feita de sete gravações diferentes da sonata, quatro modernas e três com violino barroco, e estas são confrontadas com ou comparadas à literatura sobre interpretação dos últimos 300 anos.
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Magas, Diego Sebastián Castro. "Body, mimesis and image : a gesture based approach to interpretation in contemporary guitar performing practice." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/30238/.
Full textAbstract:
This thesis addresses interpretative issues arising from notated music, particularly recent guitar music typifying progressive notational and aesthetic trends, from a perspective based on the concepts of mimesis and gesture. Drawing on Adorno’s theory of musical reproduction, scholarship on musical gesture and recent models of performers’ relationship to notation, I propose interpretative strategies aiming at the vindication of the role of the body in the discussion of musical works, while also examining the performing conventions challenged by recent developments in guitar notation. Artistic practice is fundamental to this thesis as it accounts for the exploration of various interpretative strategies and choices derived from the application of the aforementioned concepts. An accompanying folio of videos and recordings documents the impact of these theoretical concepts upon my performing practice. The starting point is a discussion of the performing issues of Brian Ferneyhough’s Kurze Schatten II, a peak of complexity in the guitar literature, and the relationship between musical gesture and the metaphorical domains to which this work alludes. Subsequently, the interpretative strategies proposed here are applied to aesthetic models differing from that of Ferneyhough as well as to music appealing to multi-parametric notation – here considered as a strand deriving from Ferneyhough’s aesthetics – requiring a paradigm shift in its interpretative approach.
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Sowdon, Nancy, and Nancy Sowdon. "Mendelssohn's works for cello: a musical and technical analysis." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/624869.
Full textAbstract:
Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant.
As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900.
Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his
homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music.
As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones.
Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.
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Gonçalves, Raphael Marcondes da Silva 1986. "As influências de Bill Stewart na bateria." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284534.
Full textAbstract:
Orientador: Fernando Augusto de Almeida HashimotoAnexo I. Áudios originais dos trechos transcritos: CD 1 e CD 2 - Anexo II. Áudios originais na íntegra: CD1 e CD 2 - Bill Stewart, CD 3 - Max Roach, CD 4 - Elvin Jones, CD 5 - Tony Williams, CD 6 Roy Haynes - Anexo III. Material complementoar em vídeo - reprodução das frases vocabulário musical de Bill Stewart pelo autor: DVD 1, DVD 2 e DVD 3 - Anexo IV. Gravação do Recital de Mestrado: DVD 4
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação tem como objetivo investigar a performance musical do baterista norte-americano Bill Stewart, detentor de uma maneira de tocar única e um dos músicos predominantes do jazz atualmente. Dando continuidade à pesquisa "A linguagem singular de Bill Stewart na bateria", que determinou alguns dos elementos definidores de sua performance no instrumento, o intuito desta dissertação é identificar se esses traços característicos possuem semelhança com a abordagem de outros bateristas, presentes nas décadas de 1950 e 1960, como Max Roach, Elvin Jones, Tony Williams e Roy Haynes. A metodologia deste trabalho consiste na delimitação do repertório, na transcrição de músicas selecionadas, e o posterior estudo comparativo. As entrevistas com Stewart serviram para cruzar informações e confirmar algumas das conclusões dessa análise. A pesquisa nos permitiu organizar um material comparativo, o qual coloca em discussão se as semelhanças encontradas entre a abordagem de Stewart e a dos bateristas de décadas anteriores a ele caracterizam-se como suas possíveis influências musicais no instrumento
Abstract: This dissertation has as goal to investigate the musical performance of the American drummer Bill Stewart, detainer of a peculiar way of playing and one of the predominant jazz musicians nowadays. Continuing the research "The peculiar language of Bill Stewart on drumset", which determinate some defining elements of his performance on the instrument, this dissertation aims to identify whether those characteristic traits are similar to the approach of other drummers, which acted in the decades of 1950 and 1960, such as Max Roach, Elvin Jones, Tony Williams and Roy Haynes. The methodology utilized in this research consists of definition of the repertory, transcription of selected works, and a further comparative study. The interviews with Stewart served to cross check the information and to confirm some of the outputs of this analysis. This study allowed us to organize a comparative material that discuss if the similarities founded between the Stewart's approach and the musical language of the drummers of the preceding decades to him could be considered as his musical influences on drumset
Mestrado
Praticas Interpretativas
Mestre em Música
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McCachren, Jo Renee. "Antoine Reicha's Theories of Musical Form." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330751/.
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Antoine Reicha stands as an important figure in the growing systematization of musical form. While Traite de melodie (1814) captures the essence of eighteenth-century concern with tonal movement and periodicity, Reicha's later ideas as represented in Traite de haute composition musicale (1824-26) anticipate descriptions of thematic organization characteristic of his nineteenth-century successors. Three important topics emerge as crucial elements: melody, thematic development, and schematic categorization of complete pieces.
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Moon, Geoffrey. "The inner musical workings of Robert Schumann, 1828-1840 : in two volumes." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm817.pdf.
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A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea.
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Wang, Yuan. "Observations on the Chinese metal scene (1990-2013) : history, identity, industry, and social interpretation." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8172/.
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This thesis examines Chinese metal of the mainland China as a contemporary cultural phenomenon, which consists of seven chapters. It begins with three premise chapters providing the necessary definitions and terminology about Chinese metal, reviewing the relevant literature, and explaining the multiple methodologies applied, respectively. Based on that, the following chapters explore Chinese metal from four perspectives, including the history, identity, industry, and social meaning. More specifically, Chapter 4 defines the history of Chinese metal as two waves, the heavy rock era (1990-1996) and extreme metal era (2000-2013). This overall trajectory had been moving forward with the country’s economic growth, technological progress, and cultural liberalism, showing a unique U-shape curve: starting in the mainstream field in the early 1990s, declining in the late 1990s, booming underground in the early 2000s, and rising again in the 2010s. Chapter 5 illustrates that the development of Chinese metal underwent a tension between globalisation and localisation, which were reflected in the texts of the music, MV, cover art, and folk metal subgenre. Particularly, this tension resulted in an identity struggle of the current Chinese metal musicians, which was realised by a mechanism of original identity suspension, textual deconstruction, and identity reconstruction. Chapter 6 proposes that the Chinese metal industries made great progress driven by the country’s rapid economic growth and cultural diversity, and a relatively maturely industrial system with different capitals and fields had been established by the 2000s, including the sections of labels, recordings, lives, media, merchandise, and a few peripheral activities. Chapter 7 argues that because of its essence of symbolic transgression, Chinese metal provided the musicians and audiences with a quasi-ritual catharsis to temporarily escape from the pressures of the reality. Meanwhile, Chinese metal presented a unique attribute of “pseudo-evil” as an intentional reaction against the general hypocrisy which is the most severe social pathology in the contemporary Chinese society.
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Afonso, Luis Antonio Eugenio. ""Dialogue de L'Ombre Double", de Pierre Boulez : abordagens interpretativas." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284323.
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Orientador: Silvio Ferraz Mello FilhoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho tem como intenção fundamental a realização musical da obra ¿Dialogue de L¿Ombre Double¿, de Pierre Boulez, composta para clarinete solo ao vivo, clarinete pré-gravado e Live Electronics. O projeto investiga o processo que o intérprete percorre para vencer os recursos técnicos exigidos pela escrita musical do compositor, com momentos de reflexão interpretativa a respeito dessas exigências estilísticas e técnicas que a linguagem da música contemporânea requer, apresentando algumas visões técnico-interpretativas usadas pelo intérprete na realização progressiva da obra em questão. São apresentadas também discussões entre o intérprete e alguns compositores brasileiros convidados, sobre essas especificidades técnico-interpretativas em trechos desta obra, bem como uma breve descrição das técnicas utilizadas por Boulez tanto para a realização dos trechos pré-gravados, realizados em estúdio, como para a sonorização e a espacialização do som na sala de concerto, no momento da performance
Abstract: The fundamental intention of the present work is the musical realization of the oeuvre ¿Dialogue de L¿Ombre Double¿, from Pierre Boulez, composed for live solo clarinet, together with pre-recorded clarinet and Live Electronics. The project relates the investigation of the process that the performer goes through in order to master the technical resources demanded by the musical writing of the composer, with moments of interpretative reflections regarding the challenges and types of language that contemporary music requires, presenting a few technical-interpretative points of view used by the performer throughout the progressive realization of the researched oeuvre. Discussions between the performer and some invited Brazilian composers regarding the technical-interpretative specificities used in parts of the work are also presented, as well as a brief description of the techniques employed by Boulez for the sonorization and specialization of the sound in the concert hall during the performance
Doutorado
Doutor em Música
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Araújo, Katarine de Sousa. "A escolha do gestual e suas implicações interpretativas aplicadas à regência da obra Psalmus, de João Guilherme Ripper." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4734.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This aim of this paper is to study and apply gestures in the interpretation of the symphonic work Psalmus, by João Guilherme Ripper. Zagonel (1992) and Heller (2006), were the references used in defining gesture. To define interpretation, the author consulted Laboissiére (2007), Lima (2006) and Schuller (1997), and for the definition of style and conducting, the author makes reference to Schuller (1997) and Swarowsky (1989). Once the definitions were established, the next step was to choose a representative contemporary work, in this case, the symphonic piece Psalmus (2002), by João Guilherme Ripper, from the Brazilian symphonic literature. The choice of this work was based on the following criteria: it is a contemporary Brazilian 21st Century piece, and while it presents technical and interpretation challenges to the conductor, it is not excessively complex for young musicians. This piece was played by the Orquestra Sinfônica Jovem de Goiás, rehearsed and conducted by the author of this paper. The data collected by this survey were approached and discussed with a view to their qualitative aspects. Musical elements are employed as guide to this study. For that purpose, rehearsals were recorded and the resulting video and audio focused on the conductor. Results point to the challenge of conciliating the conductor’s gestures, as a means to establish and maintain the beat while, at the same time, bringing the work to life. Additionally, an analysis of the results indicates that since this is a contemporary Brazilian work, it also presents a challenge to conducting students and these difficulties must be approached throughout their training.
A temática de investigação desta pesquisa é a exploração e a aplicação do gestual com finalidades interpretativas da obra sinfônica Psalmus, de João Guilherme Ripper. Para conceituar-se o gesto, utilizou-se Zagonel (1992) e Heller (2006), conceituou-se interpretação, com Laboissiére (2007), Lima (2006) e Schuller (1997), e estilos de regência, com Schuller (1997) e Swarowsky (1989). Com os conceitos estabelecidos, selecionou-se, no repertório sinfônico brasileiro, a obra Psalmus (2002), do compositor João Guilherme Ripper, levando-se em consideração os seguintes critérios: obra brasileira do século XXI, contendo desafios técnico-interpretativos para o regente e de nível acessível ao músico jovem. A obra foi executada pela Orquestra Sinfônica Jovem de Goiás, na qual esta pesquisadora atuou como regente durante ensaios e apresentações. Tendo como base os fundamentos teóricos sobre gesto e interpretação musical, as discussões dos dados foram abordadas qualitativamente e norteadas por elementos musicais, resultado da gravação de áudio e vídeo dos ensaios, utilizando-se apenas a imagem da regente. Os resultados apontam desafios de conciliação gestual do regente entre a manutenção da pulsação e a realização interpretativa da obra e, também, indicam que essa obra, parte do repertório sinfônico brasileiro contemporâneo, propõe desafios ao estudante de regência, que devem ser abordados durante sua formação.
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Maeshiro, Midori. "Questoes estruturais e interpretativas na obra pianistica de Ricardo Tacuchian." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284109.
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Orientador: Mauricy Matos Martin, Maria Lucia Senna Machado PascoalTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho baseia-se na integral das obras pianísticas do compositor brasileiro Ricardo Tacuchian (1939), separadas em três fases - nacionalista (anos 60); experimental (anos 70); pós-moderna (a partir de 80 até hoje) - e tem como objetivos enfocar estas criações pianísticas, abordando questões estruturais e interpretativas; procurar divulgar a música contemporânea brasileira e contribuir para a bibliografia referente à música dos séculos XX e XXI. Visa o estudo, a análise e a performance, buscando uma integração entre análise e performance. Trata da investigação dos elementos relacionados a tempo, dinâmica, timbre, textura e estrutura. Através da utilização de diferentes ferramentas, procura compreender a significância do material de cada peça, formulando sugestões e questões básicas e essenciais ligadas à performance. A metodologia consta de análise do material, das técnicas de composição empregadas, e da forma como são utilizados estes elementos; questões ligadas à preparação pianística de cada obra. A partir do estudo do processo narrativo (análise), procura estabelecer perspectivas racionais para solucionar os aspectos relacionados à performance. Os anexos consistem de artigo escrito pelo próprio compositor detalhando sobre o Sistema- T, glossário dos termos utilizados no trabalho sublinhados em negrito e versões originais das traduções divididas por capítulos. A bibliografia consta de itens ligados à música contemporânea brasileira, análise (materiais e técnicas composicionais), performance musical, incluindo ainda o material referente ao compositor. Na conclusão, identifica elementos unificadores de cada peça, técnicas composicionais próprias do compositor (estilo pessoal) e elabora sugestões referentes à performance para estas obras pianísticas
Abstract: This dissertation is based on complete piano works by the composer Ricardo Tacuchian (1939). These pieces are divided into three phases - National phase (1960s), experimental phase (1970s), and postmodern phase (since 80 to present days). The main objectives of the dissertation are: (1) contribute to bibliography of twentieth and twenty-first century music (2) promote contemporary Brazilian music and (3) focus on these piano pieces, emphasizing structural and interpretative aspects to demonstrate a direct relationship between analysis and performance. Moreover, it addresses aspects related to tempo, dynamics, timbre, texture and structure. By utilization of various analythical techniques, the author illustrates the significance of each piece, formulating suggestions, and essential questions related to the performance. The methodology also treats aspects related to the pianistic preparation for the performance of each piece, and provides an analysis of materials, composition techniques employed, and how these elements are explored. Furthermore, a narrative process, establishes a rational solutions to solve features related to performance. Annexed to the text are an article on the T-system written by the composer himself, a glossary of underlined terms in the dissertation, and original English versions divided into chapters. The bibliography consists ofmateriaIs related to contemporary Brazilian music, musical analysis (materials and composition techniques), musical performance, and bibliographical materials related to the composer. The conclusion identifies the unifying elements of each piece, originality of the composer' s composition techniques of the composer (personal style), and elaborates on suggestions for the performance of these pieces
Doutorado
Doutor em Música
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Cunha, Hélio Alexandrino Pacheco 1982. "Linguagem e interpretação do samba : aspectos rítmicos, fraseológicos e interpretativos do samba carioca aplicados em estudos de caixa clara." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285217.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho parte da compreensão inicial de que o estudo da caixa é um fundamento da bateria. Dessa forma, propõe o estudo do ritmo e da interpretação do samba a partir de estudos e peças de caixa. O trabalho composicional é orientado por conceitos já desenvolvidos pela musicologia sobre a performance do samba em diálogo com os dados levantados pelo autor através das entrevistas aos sambistas cariocas, das transcrições e das experiências musicais vivenciadas pelo próprio pesquisador durante o processo de pesquisa. Ao final do trabalho os estudos e as peças relacionadas têm como principal objetivo explorar a forma de desenvolvimento fraseológico, de "manulação" dos toques e de exploração dos timbres da caixa a partir dos aspectos idiomáticos dos instrumentos de percussão característicos do samba
Abstract: This work starts from the initial understanding that the study of the snare drum is the foundation of the drum study. Thus, we propose the study of the rhythm and interpretation of samba by studies and pieces of snare drum. The compositional work is guided by concepts already developed by musicology on the performance of samba in dialogue with the data gathered by the author through interviews with carioca samba players, the transcriptions and the musical pratice experienced by the researcher during the research process. At the end of the work, studies and related pieces has as the main goals to explore the development of the phrasing, the sticking and the exploration of tones on the snare drum based on the idiomatic aspects of the samba characteristic instruments of percussion
Mestrado
Praticas Interpretativas
Mestre em Música
38
Tomimura, Fernando. "Robert Schumann e o Dichterliebe - aproximação e distanciamento na unidade poético-musical." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-02092015-144609/.
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Este estudo sobre o ciclo de canções Dichterliebe opus 48 de Robert Schumann aponta para uma série de procedimentos composicionais que evidenciam o estreito vínculo entre os léxicos poético e musical, a relação do compositor com a estética do fragmento e a excepcional complexidade da escrita schumanniana na construção do ciclo. Nesse sentido e fazendo uso da análise de cada canção, o trabalho trata das características idiomáticas de Schumann no intuito de compreender, de forma mais profunda, o processo composicional do Dichterliebe. O estudo analítico intenta dar suporte às questões de ordem interpretativa. Aspectos da hermenêutica na análise como a interação da memória musical, construção de estados psicológicos sugeridos pelo texto e amplificados pela música, interferências e transmutações dos códigos literário e musical são tratados de forma primacial, na busca de uma abordagem coerente que possa servir de parâmetro para uma interpretação, favorecendo tanto a execução como uma escuta ativa, ainda que tal interpretação seja passível de discussões e novas interpretações.This is a study on Robert Schumann\'s song cycle Dichterliebe opus 48. It points to a series of compositional procedures which emphasize a close link between Schumann\'s poetical and musical lexicon, his relation with the aesthetics of fragment and the extraordinary complexity of his writing in composing the cycle. In this regard, through an analysis of each song, this work addresses Schumann\'s idiomatic features to provide a deeper understanding of his compositional process in Dichterliebe. The analytical study aims at supporting interpretative issues. Special attention is devoted to some aspects of hermeneutics in analysis -- such as musical memory interaction, construction of psychological states suggested by the text and amplified by the music, interference and transmutation of musical and literary codes. This is done in the pursuit of a coherent approach which will serve as a pattern for interpretation, being helpful for both performance and active listening, although such interpretation might be the subject of discussions and new interpretations.
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Roos, Dorette Maria. "The Faust legend and its musical manifestations : a historical overview." Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/5156.
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Thesis (MMus (Music))-- Stellenbosch University, 2010.ENGLISH ABSTRACT: This thesis explores the Faust legend and its musical manifestations since the 19th century. The objective is to provide a thorough background to the legend, before drawing up an account of compositions inspired by the Faust legend. Firstly, the origin of the legend is investigated, followed by a brief summary of the most important literary works on the subject of Faust. This is followed by a comprehensive outline of the story as told by Johann Wolfgang von Goethe, and then the most significant compositions inspired by the legend are discussed. A short section containing comparisons of the compositions and the conclusions of the study appears at the end. The legend tells the story of Faust, a scholar, philosopher and alchemist in search of divine knowledge, power and pleasure. Faust encounters the devil and makes a pact with him in which he agrees to surrender his immortal soul, if the devil can satisfy Faust’s thirst for knowledge and grant him the experience of true happiness. The Faust legend is a very popular theme among composers and artists. One of the reasons for the success of the Faust legend is its universal appeal. This has led to various composers using the material as the basis for their works. Goethe’s version of the legend has proven to be the most popular source for composers. To produce a composition that attempts to capture the drama in its entirety, including its psychological and spiritual elements, is not feasible. Works centred on a smaller section, scene or character from Goethe’s Faust were often more successful than the larger operatic compositions. Like all great universal ideas, the Faust legend lends itself to an abundance of interpretations. Similarities between works are rare. Each composer who made use of the Faust legend interpreted it subjectively, which has produced many unique and varied compositions.
AFRIKAANSE OPSOMMING: In hierdie studie word die Faust legende, soos wat dit in verskeie musikale komposisies van die 19de eeu uitgebeeld is, ondersoek. Die doel van die studie is om ‘n lys van werke wat deur die Faustlegende geïnspireer is, saam te stel. Die tesis ondersoek die oorsprong van die legende en gee ‘n kort opsomming van die mees prominente litirêre werke met die Faustlegende as onderwerp. Daarna volg ‘n uiteensetting van die storielyn soos vertel deur Johann Wolfgang von Goethe. ‘n Lys, bestaande uit gesaghebbende Faust komposisies, word ingesluit en laastens volg vergelykings en gevolgtrekkings uit die studie. Die legende vertel die verhaal van Faust, die professor, filosoof en alchemis op soek na kennis, mag en plesier. Faust tree in gesprek met die duiwel en gaan met hom ‘n ooreenkoms aan om sy siel prys te gee in ruil vir kennis en ware geluk. Die Faust legende is sekerlik een van die mees gewilde literêre onderwerpe vir gebruik deur komponiste en kunstenaars. Die universaliteit van die legende dra by tot die gewildheid daarvan en om gebruik te word as onderwerp in toonsettings. Goethe se weergawe word meestal ingespan as bron van inspirasie. Om die volle omvang van die drama, met al sy sielkundige en geestelike elemente in ‘n komposisie vas te vang, is feitlik onmoontlik. Soos die meeste groot universele werke, word Faust op verskillende maniere geïnterpreteer. Gevolglik is daar min ooreenkomste tussen die verskillende toonsettings. Elke komponis se interpretasie van die legende is uniek.
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Correia, Jorge Manuel Salgado de Castro. "Investigating musical performance as embodied socio-emotional meaning construction : finding an effective methodology for interpretation." Thesis, University of Sheffield, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275014.
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Bragagnolo, Bibiana Maria. "Guias de execução para memorização aplicados à interpretação das Variações Abegg de Robert Schumann." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6622.
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Previous issue date: 2014-02-14Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research tested two different applications of the performance cue s memorization model (CHAFFIN et al., 2002) in Robert Schumann s Abegg Variations. The aim of the first model s application was the memorized public performance of the piece with no memory lapses. The second application, otherwise, adopted a different view of the model and its aim was to improve musical interpretation through the utilization of the performance cues as points of attention during performance, and it purposes were: (1) to test expressive performance cues as points of attention during performance, and its influence in the resulting sound, and (2) to investigate the potentiality of timbre and timing as parameters of the expressive performance cues applied in the Abegg Variations s performances. The methodology was supported by two practice diaries and audio recorded tests of the applications in four public performances. In these performances the number of memory lapses was inexistent or almost inexistent. We also realized a comparative analysis of the timbre and timing in two recordings of these public performances, to verify the result of the use of performance cues projected in the sound. The results of this research confirmed the efficacy of the performance cue s memorization model in the Abegg Variations and also revealed the possibility of using the expressive performance cues in the refinement of the musical interpretation, mainly in the second application of the model.
Esta pesquisa testou duas aplicações do modelo de memorização através de guias de execução, proposto por Chaffin et al. (2002), nas Variações Abegg de Schumann. A primeira aplicação do modelo teve como fim a memorização da peça e a execução da mesma em público, visando uma performance sem falhas de memória. A segunda aplicação adotou uma visão diferenciada do modelo e buscou aprimorar a interpretação da peça através da utilização dos guias de execução como focos de atenção durante a performance, tendo como objetivos: (1) testar os guias de execução expressivos como focos de atenção durante a performance e a sua influência na produção do som e (2) investigar a potencialidade do timbre e da manipulação temporal como fonte de guias de execução expressivos nas Variações Abegg, de Schumann. A metodologia contou com o suporte de dois diários de estudo e testes das aplicações em quatro apresentações públicas. Nestas apresentações o número e falhas de memória por parte da intérprete e autora deste trabalho foi praticamente nulo. Realizamos também uma análise comparativa de aspectos de manipulação do tempo e timbre entre duas gravações de performances públicas das Variações Abegg, realizada através do software Sonic Visualiser, com o intuito de verificar o resultado sonoro efetivo da utilização dos guias. Os resultados desta pesquisa, além de comprovar a eficácia do modelo a partir de guias de execução na memorização da peça, revelaram a possibilidade de utilização dos guias expressivos no aprimoramento da interpretação musical, principalmente na segunda aplicação do modelo.
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Huang, Yu-Fen. "Connecting orchestral conductors' interpretational intentions to conducting movement kinematics : a mixed-methods approach using Deviation Point Analysis." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31059.
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During orchestral performance, conductors play a role in which they provide their interpretations of the musical composition, communicating these interpretational intentions via their body movement. Pedagogical sources propose movement emblems for stock actions by which a conductor may deliver compositional and interpretational features in conducting practise. This thesis reports a mixed-methods study which provides empirical observations on the kinematic features evident in conducting practise, and which aims to explore the connection between such movements with compositional features and conductors’ interpretative intentions. Six conductors’ interpretational intentions were collected in interviews, and their conducting movements were recorded using a Qualisys motion capture system, while they worked on excerpts of repertoire by Mozart, Dvořák, and Bartók with a small string ensemble. In the interviews, conductors reported their general thoughts and beliefs about conducting. They were also prompted to identify the compositional events which they sought to highlight in their conducting, and to describe the conducting strategies they intended to use to highlight these musical events. The resulting qualitative data were thematically analysed. The conductor-identified compositional features were also used to guide kinematic investigations, using an innovative analysis method original to this project, Deviation Point Analysis (DPA). Conductors’ movements are described using four dependent variables of baton tip (movement distance, speed, acceleration, and jerk). Results are reported for two-way repeated measures ANOVAs (repertoire x trial), and for t-tests revealing significant differences between cross-correlation coefficients for within-conductor trial pairs and between-conductor trial pairs. Further examination of the data using DPA serves to distinguish time-points with observable kinematic deviations from the conducting trials. These kinematic deviations were compared with conductors’ stated intentions. Prominent clusters of kinematic deviations were seen to be associated with key musical events which conductors intended to emphasize temporal, melodic, dynamic, and instrumental aspects. Minor clusters of kinematic deviations were seen to be connected with interpretational intentions in a less stable manner, some occurring remotely from the conductor-identified locations. DPA method and findings are fully reported. The implications, advantages and limitations of this novel analysis approach are also discussed.
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Bacovis, Andrey Costa [UNESP]. "Elementos formais, texturais e interpretativos nas sonatas para piano de João Domingos Bomtempo (1775-1842)." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151901.
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Fundação de Amparo à Pesquisa do Estado do Amazonas (FAPEAM)
Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas.
This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo’s piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo’s Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities.
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Söder, Thomas. "Musils "Törless" : eine Interpretation /." Rheinfelden ; Berlin : Schäuble, 1993. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=003697083&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Sandén, Ingrid. "Personlig färgning eller tradition? : En komparativ studie i musikalisk interpretation." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13444.
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Den här uppsatsen handlar om det som inom västerländsk konstmusik benämns interpretation eller tolkning, d.v.s. den process som börjar med artistens studium av musikverkets noterade förlaga och slutar med det klingande resultatet. Uppsatsens fokus är det sistnämnda – artistens musikaliska gestaltning av ett verk. Syftet är att studera det estetiska spänningsfält som finns inom interpretationskonsten: å ena sidan hyllas det personliga och unika; å andra sidan finns konventioner om vad som är rätt och fel i en tolkning. Materialet för uppsatsens undersökning är fyra världspianisters inspelningar av Frédéric Chopins postuma Nocturne KK IVa Nr.16 i ciss-moll. Pianisterna är Wladyslaw Szpilman, Claudio Arrau, Roland Pöntinen och Garrick Ohlsson. Undersökningen är komparativ; de fyra pianisternas inspelningar jämförs utifrån ett antal förutbestämda variabler med målsättningen att dels få grepp om den personliga dimensionen i deras interpretationer, dels fastställa eventuella gemensamheter i desamma. Det sistnämnda skulle då kunna betraktas som exempel på interpretationskonventioner, vilka sätter gränser för det personliga i en tolkning. Den musikanalytiska metod som används är den auditiva musikanalysen, d.v.s. analysen utgår från ett aktivt lyssnande på musikens förlopp. Chopins noterade förlaga utgör dock en viktig referens. Resultatet av interpretationsanalyserna visar att de fyra pianisterna gör fyra olika, personligt färgade tolkningar av Chopins komposition. Men de visar samtidigt att mycket av det ”personliga” sker inom ramar för musikaliska ställningstaganden som verkar vara gemensamma för de fyra. Här är det motiverat att tala om interpretationskonventioner i frågan om Chopins pianomusik. Men då inspelningarna är hämtade från en tidsperiod på närmare 60 år vore begreppet interpretationstradition lika korrekt. Slutsatsen blir att de fyra pianisternas personligt färgade tolkningar är resultatet av individuella förhållningssätt till såväl det noterade som till icke-noterade interpretationstraditioner. Uppsatsen visar också att konstmusikens ”notbundenhet” ändå öppnar för stor personlig variation, liksom att det inom genren existerar ”gehörstraditioner” där var och en sätter sin prägel utifrån det som han eller hon har hört andra göra.This paper deals with what we in Western Art music call interpretation or practice, that is, the process that begins with the artists’ study of the notated model of the musical piece and ends with the sounding result. The focus of the paper is the latter - the artists’ musical performance of a piece. The purpose is to study the aesthetical divergence that is contained within the art of interpretation: on one hand the personal and unique is celebrated; on the other hand there are conventions about what is considered right and wrong in an interpretation. The material that is used in the study is four recordings by world-class pianists of Frédéric Chopin’s posthumous Nocturne KK IVa Nr.16 in C sharp minor. The pianists are Wladyslaw Szpilman, Claudio Arrau, Roland Pöntinen and Garrick Ohlsson. The investigation is comparative; the recordings of the four pianists are compared from several predetermined variables with the goal on one hand being to understand the personal dimension of their interpretations and on the other hand, to define possible commonalities of the same. Thus, the latter could be regarded as an example of conventions of interpretation, which define the boundaries regarding the personal dimension of an interpretation. The method of musical analysis that is used is the auditive musical analysis, that is, the analysis is based upon an active listening to the sequence of the music. However, Chopin’s notated model makes for an important reference. The result of the interpretation analyses indicates that the four pianists make four different, individual interpretations of Chopin’s composition. At the same time, however, they demonstrate that the personal dimension in an interpretation takes place within the boundaries regarding musical standpoints that the four pianists seem to have in common. Here, it is justified to talk about conventions of interpretation regarding the piano music of Chopin. However, because the recordings are collected from a period of almost 60 years, it would also be sufficient to talk about tradition of interpretation. The conclusion is that the individual interpretations of the four pianists are the results of individual approaches to the notated as well as non-notated traditions of interpretation. The paper also shows that the constraints of notation within art music still leave room for great individual variation, and that “by ear- traditions” exist within the genre, in which everyone personalizes the piece based upon what he or she has heard others do.
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Giareta, Eder Pessoa 1981. "As peculiaridades na escrita pianística de Ronaldo Miranda : sugestões interpretativas e técnico-musicais /." São Paulo, 2013. http://hdl.handle.net/11449/95099.
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Orientador: Nahim Marun FilhoBanca: Achille Guido Picchi
Banca: Ronaldo Coutinho de Miranda
Resumo: Pretende-se, neste trabalho, estudar a relação entre as obras para piano solo de Ronaldo Miranda, identificar os procedimentos composicionais utilizados pelo compositor e, a partir daí, extrair ferramentas que facilitem uma adequada interpretação musical das mesmas. O objeto deste projeto firma-se na interpretação musical, através das características notacionais da partitura à luz de um olhar analítico e do levantamento das peculiaridades da escrita pianística. Propõe-se que o intérprete tenha um conhecimento prévio dos elementos que são largamente utilizados pelo compositor e considere os exercícios técnicos sugeridos no último capítulo, compostos pelo autor deste trabalho, com base na identificação e recorrência dos padrões pianísticos composicionais de Ronaldo Miranda. Sendo assim, o pianista terá ao seu dispor recursos que fundamentarão uma postura interpretativa mais coesa, considerando o processo cognitivo, a percepção e a atenção dada no preparo para a execução da obra
Abstract: It is intended to study the relationship between the works for solo piano by Ronaldo Miranda, identifying the compositional procedures used by the composer and, thereafter extracting tools to facilitate a proper musical interpretation thereof. The object of this project is based on the musical interpretation, through the notational characteristics under an analytical view and setting up the peculiarities of the pianistic writing. It is proposed that the interpreter has prior knowledge of the elements that are widely used by the composer and consider the technical exercises suggested in the last chapter, composed by the author of this research, based on the identification and recurrence of pianistic patterns of Ronaldo Miranda. Thus, the pianist will have at his disposal, resources that will build a more cohesive rendition, considering the cognitive process, perception and attention given in preparation for performing the work
Mestre
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Ribalta, José Luiz Chamorro. "Missa caiçara: uma abordagem analítico-interpretativa da obra de Kilza Setti." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-30082012-125503/.
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É objetivo analisar a Missa Caiçara e reconhecer os processos composicionais utilizados por Kilza Setti em sua elaboração, demonstrando como procedimentos musicais tradicionais europeus foram mesclado com procedimentos musicais caiçara, criando material de referência sobre características composicionais da compositora. Por meio do trabalho do Prof. Dr. Marco Antonio da Silva Ramos em seu Referencial de Análise de Obras Corais, foram observados diferentes aspectos musicais, relativos à duração, frequência, timbre, forma e intensidade, assim como foi realizada uma análise referente aos usos do silêncio dentro da obra. A tese de doutorado em antropologia social da compositora, sobre a música Caiçara do litoral norte de São Paulo, serviu de guia para o reconhecimento dos procedimentos musicais contidos naquela música. Entrevistas com a própria compositora forneceram subsídios sobre suas posições estéticas, ainda não publicadas. Como resultado deste trabalho é oferecido ao final da pesquisa uma nova edição revisada para performance da partitura da Missa Caiçara, possibilitando melhor divulgação da obra.The purpose is to analyze the Caiçaras mass and to recognize the compositional processes used by Kilza Setti in this composition, by demonstrating how traditional European musical procedures were blended with caiçaras musical procedures, creating reference material on the composer\'s compositional characteristics. Through the benchmark analysis of choral works composed by Professor. Dr. Marco Antonio da Silva Ramos, different musical aspects were observed, as those related to duration, frequency, timbre, form and intensity, as well as an analysis was done regarding the uses of silence within the mass. The doctoral thesis in social anthropology written by Kilza Setti about caiçaras musical procedures from the northern coast of São Paulo, guided the recognition of these musical procedures. Interviews with the composer herself gave subsidy on her aesthetic positions, not published yet. As a result of this work, by the end of the research, a new revised edition for performance of the score of the Caiçaras mass is offered, allowing the dissemination of the work.
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Yansen, Carlos Alberto Silva. "Concerto Fribourgeois de Almeida Prado para piano e cordas : um estudo para a interpretação." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284002.
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Orientador: Aci Taveira MeyerTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Neste trabalho buscou-se a identificação do material composicional como ponto de partida para uma interpretação. Contém ainda sugestões para a resolução de possíveis problemas técnicos e interpretativos relacionados ao Concerto Fribourgeois do compositor Almeida Prado. Justifica-se por contribuir para a arte da interpretação. Para tanto, foi necessário uma breve explanação sobre o Concerto, bem como um breve resumo histórico sobre os títulos dos movimentos. Em seguida, foi feita a identificação do material, sendo ressaltadas características relevantes, relacionadas à textura, ao tempo e à rítmica, à dinâmica, ao timbre, às ressonâncias e à forma, com ênfase no uso do material encontrado. Seguidamente, foi feito um levantamento sobre as dificuldades técnicas da obra e sugestões de solução que possivelmente interfiram na concepção interpretativa da peça. A conclusão traz possíveis interações entre os dados levantados, identifica elementos unificadores e elabora considerações acerca da estrutura da obra, formulando assim a base para uma interpretação. O trabalho ainda possui a obra toda digitalizada e em um de seus anexos, uma redução da grade de orquestra para um segundo piano
Abstract: In this study we sought to identify the compositional material as a starting point for an interpretation. It also contains suggestions for solving possible technical and interpretative problems related to the Fribourgeois Concert by the composer Almeida Prado. Its merit lies in that it contributes to performance. T35 herefore, a short explanation about the concert was necessary which is, in itself, a historic summary of the movement titles. Incluided also is identification of the material of the above mentioned piece highlighting relevant characteristics related to texture, tempo and rythym, dynamics, tone, ressonance and form with enphasis on the material found. Subsequently, a survey of on the technical difficulties of the piece and suggestions were made regarding possible solutions which will possibly interfere in the interpretative conception of the piece. The conclusion brings possible interactions among the data collected, it identifies unifying elements and draws considerations on the structure of the piece concerning the technical difficulties of the instrument, therefore, creating a groundwork for an interpretation. This work has also a digital version of the piece and, in one of the annexes, a reduction of the orchestra grid for a second piano
Doutorado
Doutor em Música
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Keventsidou, Eleni. "Max Reger's variations and fugue on an original theme Op.73 : issues of musical structure, performance practice and interpretation." Thesis, Canterbury Christ Church University, 2016. http://create.canterbury.ac.uk/16226/.
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The thesis investigates Max Reger's Variations and Fugue on an Original Theme Op. 73, demonstrates the refinement of Reger's composition, and underlines his connection to the great performer Karl Straube. His musical language, dynamic markings and technical problems regarding the tempo, registration and acoustics will be examined by an actual performance in Canterbury Cathedral. Several issues such as cathedral acoustics, mechanical or pneumatic actions and choice of tempi have underpinned this study. Within each variation, the characteristics and techniques of Reger's compositions express his exceptional connection with the art of fugue and, of course, the use of variation technique in the rest of his organ works. The long Introduction falls into five clear sections and is, followed by the wistful mood and resignation of the Original Theme, where the great role of the third bar is often quoted in the course of the variations. Due to the all-pervading chromaticism Op. 73 gives the impression of being completely pantonal. Canterbury Cathedral organ's electro-pneumatic action and acoustics are close to the Leipzig Sauer instrument, and it seems well capable of meeting the challenges of control, polyphonic harmony, mystery and chromatic moods of Op. 73. Approaching the interpretation of Reger's highly demanding Variations and Fugue on an Original Theme Op. 73 through formal analysis and the complicated background of early twentieth century performance practice will be the final goal of the live performance.