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1
Halamová, Markéta. "F. V. Kramář a jeho koncerty F dur pro hoboj (Op. 37 a Op. 52), rozbor a interpretace." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96725.
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This magister´s theses is dealing with life of czech componist F. V. Krommer and his two concerts for oboe, they are detail analysed and their interpretation and problems, what you can meet during your study, are sketched here.
2
Cardoso, Iury. "A adaptação para violão das 12 Danzas Españolas Op.37 de Enrique Granados através de novas propostas de scordature." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-17042018-141816/.
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Este trabalho trata do processo de transcrição para violão solo das 12 Danzas Españolas Op. 37 de Enrique Granados, escritas originalmente para piano. Tal processo desenvolveu-se através da observação de versões para violão de outras obras originais para piano, comparações entre os recursos instrumentais específicos desses dois instrumentos e de um levantamento histórico, onde foram analisadas as principais problemáticas de adaptação dos elementos musicais e estéticos da obra original em um novo meio. A fim de contextualizar esse trabalho no panorama da transcrição, visitamos a história de Granados, analisando os aspectos gerais de suas Danzas Españolas, bem como discutimos a conceituação da scordatura para, a partir daí, empregar o método de pesquisa de diferentes possibilidades de afinação na busca de viabilizar a transcrição da obra em questão, sem perder de vista, durante esse processo, a ideia original do compositor. Através dos resultados alcançados, da maneira como compreendemos os métodos empregados, constatamos um amplo campo de possibilidades a serem pesquisadas e novas soluções de adaptação e scordature a serem empregadas, estabelecendo a prática da transcrição como um procedimento válido artisticamente, desde que devidamente contextualizado.This work deals with the process of transcription for guitar solo of the 12 Danzas Españolas Op. 37 of Enrique Granados, written originally for piano. This process was developed through the observation of guitar versions of other original works for piano, comparisons between the specific instrumental resources of these two instruments and a historical survey, where the main problems of adaptation of the musical and aesthetic elements of the original work were analyzed in a new medium. In order to contextualize this work in the transcription panorama, we visit the history of Granados, analyzing the general aspects of its Danzas Españolas, as well as discussing the conception of the scordatura to, from there, to use the research method of different tuning possibilities in the seeking to make feasible the satisfactory assimilation of the work in question, without losing sight of, during this process, the original idea of the composer. Through the results obtained, as understood by the methods employed, we find a wide field of possibilities to be researched and new solutions of adaptation and scordature to be used, establishing the practice of transcription as an artfully valid procedure, provided that it is properly contextualized.
3
Generalow, Alice. "The Orthodox Concert Stage: Performing Rachmaninoff's All-Night Vigil, Op. 37 in a Liturgical Style." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594557.
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The purpose of this study is to demonstrate that Sergei Rachmaninoff's All-Night Vigil, op. 37 can successfully be performed by choral ensembles in a liturgical style by careful selection and grouping of individual movements, along with the interpolation of other chants or musical settings traditionally used in the Russian Orthodox Church that are not part of the composer's original score. This would make the work more accessible to choirs and conductors that may otherwise not be inclined to program an unaccompanied work over seventy minutes in duration. Additionally, such performances would more accurately reflect the Russian liturgical performance practice history of the work as traced in this document. This document explores the history and form of the All-Night Vigil service, Rachmaninoff's exposure to the Orthodox Church, performance decisions made for the viva voce presentation portion of this document, and the performance history of Rachmaninoff's All-Night Vigil before and after the Russian Revolution.
4
Borman, Lynnette. "Sea Pictures, Op. 37 by Sir Edward Elgar : a comprehensive guide for study and performance /." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1165340620.
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Fialová, Kristina. "Miklós Rózsa - život a dílo se zaměřením na Koncert pro violu a orchestr op.37." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178003.
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This thesis introduces biography of Hungarian, often overlooked, composer Miklós Rózsa and the focus is on his Concerto for Viola and orchestra op. 37. His biography is in nine chapters by life periods, chapter no. 10 is about his Concerto for Viola and orchestra op.37.
6
Dorozhkina, Elena V. "A Performer's Guide to the First Two Movements of Pyotr Tchaikovsky's Grand Sonata in G Major, Opus 37." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177192/.
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The Grand Sonata in G Major, Op.37, composed by Tchaikovsky, is a powerful large-scale composition and a piece of a symphonic scope. However, the sonata did not receive a desired acclaim in the modern repertoire partially due to an obvious lack of performance instructions in the existing editions, which makes the sonata challenging to perform. Thus, in order to reduce the technical challenges and to encourage more frequent performances of the sonata, this dissertation offers a performer's guide that addresses essential elements of pedal indications, phrasing and detailed dynamics, as well as suggestions on voice balancing, agogics, fingering, and hand redistribution. The guide consists of musical examples that are focused on the most challenging sections of the sonata, and is organized in the subsections according to a technique type proposed to facilitate a performance of the sonata. In addition to the examples on application of individual techniques presented in the main body of the dissertation, alternative and more elaborate versions of the suggestions are proposed in the appendices. The dissertation also provides a history of the sonata, and discusses its concept and symphonic principles. Additionally, the work highlights Tchaikovsky's piano style and describes his views on the art of piano performance. A special attention is also given to two musical references repeatedly embedded into the sonata: the bell-like sonorities and Dies irae melody.
7
Pei-shan, Lu, and 呂佩珊. "A Study of Amy Beach's《Three Shakespeare Songs》Op.37、《Three Browning Songs》Op.44." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/28954487844051409555.
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Lin, Chen-ni, and 林臻旎. "A Study of Amy Beach’s Three Songs, Op.11 and Three Shakespeare Songs, Op.37." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/kedebh.
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碩士國立中山大學
音樂學系研究所
103
This study explores two Amy Beach’s vocal compositions of collections: Three Songs and Three Shakespeare songs. Amy Beach (1867-1944) is one of the essential American women composers in the 19 century. The two vocal compositions were composed according to Echoes of William Ernest Henley (1849-1903) and Twelfth Night, Measure For Measure, A Midsummer Night''s Dream of William Shakespeare (1564-1616) respectively. The two vocal compositions are Amy Beach’s representative works in the art song''s golden age. This thesis consists of three sections: The first section provides an introduction of American art songs and an biography of Amy Beach, including music background. Second section examines the literature of the Three Songs and Three Shakespeare songs, and the poets William Ernest Henley and William Shakespeare. The final section analyses these six songs revealing the possible interpretation of the composer.
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Li, Shih-hsuan, and 李思萱. "A Study of Enrique Granados’ “Twelve Spanish Dances”, Op.37." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/90694621429620745677.
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碩士國立臺南大學
音樂學系碩士班
97
This research aims to investigate Enrique Granados’ “Twelve Spanish Dances”, Op.37. First, the researcher investigates the setting of the piece through studying the course of development of Spanish music and dance music, features of Spanish dance music, the life of Enrique Granados, and his style of piano composition. The researcher also looks at the structures of the music and Enrique Granados’ composing techniques, investigating the “Twelve Spanish Dances” from approaches such as the form analysis, music style, rhythm, melody, tonality, harmony, and expression. The pedaling, the technical parts, the use of dynamics and the tempo during performance, and the interpretation by piano performers are also discussed. In the end, suggestions for interpretation are provided. It is found in the study that Enrique Granados adopted various traditional Spanish dance music in his “Twelve Spanish Dances.” These traditional Spanish dance music include Fandango, Rondalla Aragonesa, Sardana, and Bolero. Often in the music one may hear parts that imitate the playing of the guitar; the composer produced his music based on traditional Spanish source materials, while blending in the Western European Romanticism harmony. Most of the music is in ternary form. The faster periods express lively passion, whereas the slower periods has a characteristic of flamenco cante hondo, presenting a deep emotion. Moreover, the set of music features Andalusia music style, including characteristics such as chromatic, the melodic interval of the augmented second, as well as major-minor key shift. Enrique Granados also adopted the driving rhythm, the irregular accent and syncopated rhythm, and one may find sophisticated design of tempo variation among the periods. Enrique Granados expressed his reverence and adoration of his country’s folk music. The music expresses fully the passion of the Spanish people and the characteristics of flamenco music, making it a good starting material for intermediate piano learners learning to play Spanish music. The abundant usage of tempo flexibility in each of the pieces may also be excellent practices of Romantic works. Therefore, Enrique Granados’ “Twelve Spanish Dances” make a very valuable set of Spanish piano composition for practice.
10
Lee, Mei-Hui, and 李美慧. "The Study of E. Chausson''s composition "Chanson perpetuelle", op. 37." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/94548543904553653958.
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WANG, CHENG-HUI, and 王呈慧. "A Performance Interpretation on Edward William Elgar’s Sea Pictures, Op. 37." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/4g29u3.
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碩士國立臺中教育大學
音樂學系碩士班
104
Edward William Elgar (1857-1934) was regarded as the first prestigious British composer since Baroque Era. Although not receiving any formal musical training, Elgar reinvigorated the reputation as well as became the representative of British music. Moreover, his works reveal the uniqueness of British style. Sea Pictures, Op. 37 was written during the years from 1897 to 1899 and was published in 1900. Five nature-creative poetry composed by different authors in the theme of "Ocean" were comprised as a vocal song cycle. Through the vocal melodies and the accompaniment, one may comprehend and visualize the lyrics. This set of works were good at chromatic technique to highlight the tension on the music, and the tonality, harmony and melodic figurations with artistic conception of poetry were matched. As forementioned, those techniques brought a wealth of colors to music. This thesis discussed the work in three aspects: biographical survey of Elgar and five poets, the analysis of the musical structure, and the performance practice of each song. Keywords：Edward William Elgar, Sea Pictures, song cycle, vocal music
12
Huang, Chien-Yu, and 黃茜瑜. "The Interpretation and Analysis of Six Shakespeare Songs of Roger Quilter Op. 6 and Amy Beach Op. 37." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/8939z5.
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Hsieh, Cheng-Feng, and 謝承峯. "Beethoven Piano Concerto No. 3 in C Minor, Op. 37 and Rachmaninoff Piano Concerto No. 3 in D Minor, Op. 30." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/96284346790449793537.
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Fu, Hsiao-Chi, and 傅筱棋. "The Analysis and Interpretation of Bozza’s Fantasy Pastrol Op. 37 for Oboe and Piano." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/9d6r9c.
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碩士國立中山大學
音樂學系研究所
103
Eugene Bozza (1905-1991), a twentieth century French renown composer, violinist and educator, who graduated from the Conservatoire national supérior de musique et de Danse de Paris. His music demonstrates a rich variety of traditional French musical styles, sound colors and characteristics. Apart from genres such as symphonies, ballets and operas, most of Bozza’s compositions focused on chamber music and music for woodwind instruments. Bozza has also written a great number of études which have made significant impacts and contributions towards the development of performing techniques in woodwind instruments. Fantasy Pastrol for Oboe and Piano Op. 37 was composed in 1939, dedicated to Louis Bleuzet, an oboe professor of the Conservatoire de Paris. The music fuses impressionistic with contemporary styles giving elegant melodic lines, and a vast range of musical textures. It is also technically challenging. Thus, the work has been considered as one of Bozza’s signature compositions. The study consists of three main chapters：an introduction and a conclusion. Chapter one discusses the biography of Bozza. The chapter two examines the essential musical characteristics and style of the composer, and chapter three analyses the composition and if interpretation.
15
Lee, Luo-Ting, and 李珞廷. "The Analysis and Interpretation of Erich Wolfgang Korngold’s Cello Concerto in C Major, Op. 37." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/80148296028143253578.
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碩士輔仁大學
音樂學系
104
This study focused on the musical analysis and interpretation of the Cello Concerto in C Major, Op. 37, 1946 by Erich Wolfgang Korngold (1897-1957). The American Austrian composer, Erich Wolfgang Korngold, who was highly praised by Gustav Mahler (1860-1911) as a “child prodigy”, has become one of the most renowned composers in the 20th century. In 1934, Mr. Korngold was invited by a director, Max Reinhardt (1873-1943) to compose and rearrange movie soundtracks. In 1938, upon German invasion of Austria, Mr. Korngold fled to and settled down in the United States of America in order to save his family and escape from politic persecution. He then began his career in composition of movie soundtracks. The Cello Concerto in C Major, Op. 37 which he composed in 1946 for the movie, Deception (1946), although was only 6-minute long, was considerably popular. He later rearranged this piece of music into a 13-minute concerto, and had it published in 1953. The Cello Concerto in C Major, Op. 37 was the only one cello concerto that he made. It was composed of only one consecutive movement which was very different from traditionally lengthy concerto style. Apart from absolute music, he also composed operas and movie soundtracks. Thus, it is not surprising to find theatricality in this cello concerto. However, since this 13-minute long cello concerto was relatively short as compared with other cello concertos, audience were very likely to miss out its theatricality. Thus this study was intended to make us know more about Mr. Korngold’s Cello Concerto in C Major, Op. 37. Consisted of five chapters, this study began with Chapter 1 Introduction, which covered research objectives and motive, research scope and methods, followed by Chapter 2, which described Korngold’s personal information and it pointed out the background information upon the composition of Korngold’s Cello Concerto in C Major, Op. 37. In Chapter 3 and Chapter 4, it respectively focused on the musical analysis and interpretation of this cello concerto. This study finally made conclusions in Chapter 5.
16
Chen, Yi-chiao, and 陳奕僑. "An Analysis and Performance Interpretation of Piano Works by Tyzen Hsiao─Taking《Memories of Home, Op.49》and《Poetic Echo, Op.37》as Examples." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/33jdyr.
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碩士國立臺南大學
音樂學系碩士班
100
Tyzen Hsiao（b.1938）is one of the most important composers in Taiwan, and has won the reputation as “the Rachmaninoff of Taiwan – the last Piano Poet of Romanticism”. He dedicated himself in combining Taiwanese local music with Western music vocabulary, and his compositions were known for the rich sentimental and elegant melodies. This thesis studies his piano works 《Memories of Home, Op.49》 and 《Poetic Echo, Op.37》. The first chapter defines the scope of the thesis, including the purpose and method of research. The second chapter explores the life and education history of Tyzen Hsiao and gives a brief introduction of the styles his music. Chapter three analyses the structural elements of these two sets of works, including tempo, tonality, style, and melody. Chapter four focuses on the performance interpretations of these piano works, and provides pedagogical strategies. The last chapter is the conclusion and suggestions. The outcome this research results is to provide practical information and suggestions for educators and students.
17
Chen, Wei-Yu, and 陳薇羽. "A Study and Performance Practices on Pyotr Ilich Tchaikovsky's Grand Sonata in G Major, Op. 37." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/80236282894940226513.
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碩士國立臺北教育大學
音樂學系碩士班
102
Pyotr Ilyich Tchaikovsky(1840-1893), a remarkable Russian musician in the 19th century whose works are still popular and beloved today, achieved a perfect marriage of Western compositional technique and Russian national heritage. Among Tchaikovsky’s solo piano works, The Seasons, Op. 37a and Children's Album, Op. 39 are two of the most-performed characteristic pieces, while Grand Sonata in G Major, Op. 37 is representative of the composer’s large-scale works. He employed established Western forms and harmony without compromising his individuality by unobtrusively weaving dance tunes with Russian folk songs into this magnificent composition. The four-movement Sonata with an approximate 35-minute performing time is “grand” in both its structure and texture. The composer attempts to “symphonize” the piano piece, creating the sound effects of an orchestra on the piano. This effect, along with the level of virtuosity demanded in performance, makes the sonata truly deserve its “grand” title.
18
Hsiao, Tien-Ning, and 蕭天寧. "The Analysis and Interpretation of Gerald Finzi’s “Let us garlands bring op.18”and Amy Beach’s “Three Shakespeare Songs op.37”of poetry by William Shakespeare." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/62dtrp.
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碩士國立臺北教育大學
音樂學系碩士班
104
The thesis focuses on the musical analysis and interpretation of “Let us garlands bring op.18” and “Three Shakespeare Songs op.37” composed by British composer Gerald Finzi, and American composer Amy Beach, which refer to the poems by Shakespeare. This study involves seven chapters: Chapter One is the Introduction, mainly clarifying the author’s motivations, purposes, methods, and the structure of this thesis. Chapter Two concentrates on Shakespeare’s life and his literary style, and also introduces the drama “Twelfth Night” ,“The two Gentlemen of Verona” , “Cymbeline” , “As you like it”, “Measure for Measure” and “A Midsummer Night's Dream” as the source of the songs.Chapter Three and Four focuses on the personal background, learning experience and musical style of Finzi and Beach. Chapter Five and Six are the main part of this thesis, analyzing creative concepts, musical forms and poetic lyrics of these two works. The last chapter concludes the results of this research, expecting to provide some suggestions to future researchers with a deeper understanding and systematical resources of two composer’s works.
19
Tsai, Chung-Han, and 蔡忠翰. "An Analysis and Interpretation of Enrique Granados' Piano Pieces selected from Spanish Dances, Op. 37 with special focus on nos. 1, 5, 9, 10, 11 and 12." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/90120463464388052498.
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碩士輔仁大學
音樂研究所
97
The importance of Spanish piano music in western music history has always competed with the music that developed in German and Austrian regions. Although the exclusive style of Spanish folk music had been popular material for European music compositions from the 19th century, it was not until the Nationalists in music, that the “Golden Age of Spanish Piano Music” had finally arrived. In this alternation of the times, four leading Spanish composers, Isaac Albéniz, 1860-1909, Enrique Granados, 1867-1916, Manuel de Falla, 1876-1949, and Joaquín Turina, 1882-1949, showed their appearance. By merging traditional Spanish folk songs, tempos, dances, instruments and paintings with Romantic methods, the four composers composed expressive and creative music in this period. Enrique Granados’ Spanish music is especially enriched with Romantic elements. Although his compositional methods tended to be conservative, his compositions were found deeply influenced by the Romanticism composers, Frédéric Chopin, 1810-1849, Robert Schumann, 1810-1856, and Franz Liszt, 1811-1886. This dissertation studies the pianist and composer, Enrique Granados. By using 6 of his early major piano works, “Spanish Dances, Op. 37” as examples, we will discuss the character of Spanish piano music and the style of dance music; in addition to realize its music language, and gain more knowledge by analyzing Spanish music.