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Dissertations / Theses on the topic 'Paganini caprice'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Yang, Hokyung. "12 variations on Paganini's 24th caprice : an analysis /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11263.

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2

Stocker, Melinda Suat-Lee. "The evolution of the caprice for solo violin with reference to the caprices by Locatelli, Paganini and Reitz /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18759.pdf.

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3

Ahn, Kwang Sun. "An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2548/.

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The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the th

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4

Shen, Keh-Shu. "An analytical study of Paganini's Twenty-four caprices for solo violin /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11338.

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5

Park, Jeeyoung. "Comparing Musical Expression in Teresa Millanollo’s “Grand Fantaisie Elegiaque” Opus 1 with Niccolo Paganini’s Compositions." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1613745055878857.

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6

Kim, Warren. "Marc-André Hamelin's "Variations on a Theme of Paganini": The Effect of Polystylism through Pastiche and Musical Borrowing in Variations." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609093/.

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Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variat

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7

LAI, YENMING, and 賴彥銘. "A comparison on Liszt six Paganini Etudes and Paganini Caprice, Violin concerto No.2." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7shzds.

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碩士<br>東吳大學<br>音樂學系<br>106<br>Franz Liszt and his piano works have a great influence on the Romantic period. This thesis will introduce and present the relationship between Liszt’s “Paganini Grand Etude” and Nicolo Paganini’s violin work(Caprice and Violin Concerto No.2). This thesis focuses particulary on the relevant works of “Paganini Grand Etude”. First, the thesis will elaborate about composer and background, then the works to the “Paganini Grand Etude” will be introduced. Followed by an analysis of the composition of six Etudes. Finally, compare the relevance between Etudes and correspond

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8

Hsu, Pao-Chen, and 許寶真. "Schumann:"6 Concert Etudes after Paganini Caprices, Op.10"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/96242131869674753362.

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碩士<br>國立臺灣師範大學<br>音樂學系在職進修碩士班<br>99<br>6 Concert Etudes after Paganini Caprices, Op.10 is one of Schumann’s early works, written in 1833, and published in 1835 after several revisions. Adapting from Paganini’s 24 Capricci for Solo Violin, Op. 1 for its melody, the 6 pieces it includes express the will to venerate and imitate Paganini’s tremendous performance technique. Schumann names the work Concert Etude to differentiate it from Etudes after Paganini Caprices, Op.3 in 1833. Op. 3 is a work for educational purpose, whereas Op. 10 is for concert performance, propagating its own artistic esse

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9

Tsai, Meng-Fong, and 蔡孟峰. "Karol Szymanowski three paganini caprices op.40, transcription for violin and piano." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/17955673868157852658.

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10

Rada, Jan. "Niccolo Paganini: 24 Caprices pro sólové housle op. 1, dílo a interpretace." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-343168.

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The diploma thesis investigates 24 Caprices for Solo Violin op. 1 by Nicolo Paganini in great detail. It also includes a brief biography of the famous performer and composer but mainly focuses on 24 caprices op. 1. The author of this work addresses circumstances of their creation, their main features and methodology problems. He further looks into interpretation options and compares recordings of Ruggiero Ricci, Ivan Kawaciuk, Itzhak Perlman and Shlomo Mintz. The aim of the work is to offer violinists who study any of the capricies recommendation regarding technic and interpretation problems.

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11

Lin, Shang-Cheng, and 林尚成. "The Musical Analysis and Interpretation of《Paganini 24 Caprices, Op. 1, No. 9、13、14、20、24》." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/47t4p5.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>102<br>N. Paganini’s 24 Caprices, Op. 1 for solo violin is a very important music work in music history. It enhances the performance technique on both violin and piano. Paganini’s composition has huge influence on the following generation of composers. They studied Paganini’s works and imitate his style in their own works. Paganini was a very outstanding musician in the early Romantic music period. The purpose of this paper is to research 24 Caprices, Op. 1. The author chose No.9, 13, 14, 20, 24 to make comprehended research and analysis. It has five chapters in th

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12

Chen, Yueh-Chen, and 陳玥臻. "From Paganini’s caprices to study the Virtuosity as the exampleof Polonaise Brillante by Wieniawski." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/2hv898.

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碩士<br>東吳大學<br>音樂學系<br>106<br>This study focuses on the Virtuosity grammar in Wieniawski " Polonaise Brillante, Op. 21 in A Major". At present, the study of Wieniawski " Polonaise Brillante, Op. 21 in A Major" is mostly based on the interpretation and analysis of the performance, and the content of the study is based on the performance of the player. However, the reproduction of a work is in addition to the player of the quality, but also to explore the works of the skills in order to make playing more objective and complete. Therefore, the concept of the violin skills (Virtuosity) on the thesi

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13

Lee, Hsiang-Ning, and 李湘寧. "An Analysis and Interpretation of Niccolo Paganini's Violin Caprices, Op. 1, No.1, 4, 9, 17, 24." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/12061715868098219009.

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14

Wang, Chien-Tang, and 王建堂. "An Analysis of Niccolò Paganini’s 24 Caprices, Op. 1 and Discussion on the Evolution of its Left-Hand Technique." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f7na3y.

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博士<br>國立臺灣師範大學<br>音樂學系<br>105<br>This thesis aims at undertaking a research on 24 Caprices of Niccolò Paganini and its main objective is to discuss the application of left-hand techniques and its historical change and development. By understanding the background and the characters of musical works, it allows this study to analyze the genre, the melodic attributes and other elements of musical artworks. To understand how a performer interprets the unique musical language of 24 Caprices is the key element of this study as well. This study can be divided into four main sections: first, the music

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15

Davenport, Andrew Russell. "Paganini's 24 Caprices opus 1 : a transcription for electric guitar, and analysis and development of the techniques required to perform them : a thesis submitted in fulfillment of the requirements for the degree of PhD, Massey University, New Zealand." 2008. http://hdl.handle.net/10179/713.

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Since the late 1970s much interest has been shown in the development of electric guitar technique. Advances have been considerable, enabling players to explore new genres and repertoires but development methodologies have remained woefully fragmented. A new approach that sets out to promote electric guitar technique with development methodology is the purpose of this study. To this end, a process of transcription combined with an advanced technical analysis has been undertaken including a full categorization of the technical subgroups extant within each Caprice. The hypothesis behind this task

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