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1
Duncan, Bobby Charles. "Suicide: a Solo Interpretation Performance." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501100/.
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The purpose of this project was to determine if oral interpretation in a social context setting can be used as a persuasive means of suicide prevention. A script on suicide was compiled, directed and performed as a solo performance by the writer. The thesis includes the script, a history of suicide prevention, the process of compiling a script for solo interpretation performance, and an overall evaluation of the production. This Author's evaluation was influenced by audience and critic responses.
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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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Lee, Suan Liu. "Czerny's interpretation of Beethoven's piano sonatas." Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/czernys-interpretation-of-beethovens-piano-sonatas(feb6fd76-4266-471f-a1e0-5dd95dff5b83).html.
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The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing a. certain consistency over a period of about twenty years. Most of Czemy's teaching on the performance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from Beethoven's own practice. However, he sometimes altered Beethoven's directions because he considered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because they did not conform to contemporary performing styles, or simply because they did not suit the more resonant pianos of his day.
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Nalimova, Elena. "Demystifying Galina Ustvolskaya : critical examination and performance interpretation." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/8013/.
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This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music. The author examines Ustvolskaya’s music from two viewpoints, a scholar and a performer, and draws upon inter-textual connections between Ustvolskaya’s music and Russian literature (Gogol, Dostoevsky, oberiuty) and aesthetics; analyses the influences of Russian musical traditions (Russian folklore, znamenny raspev) and some artistic individuals (Mussorgsky, Shostakovich, and Stravinsky), and examines the nature of Ustvolskaya’s spirituality and religiosity. The performance aspects of Ustvolskaya’s music are discussed as well as the specific nature of her writing for instruments, particularly the piano, and the interpretation and perception of her music by both the performers and the audience. The thesis examines the performance history of Ustvolskaya’s works, and draws on interview materials with musicians who knew the composer and performed her music. The author’s own performance experience and that derived from the ‘Ustvolskaya at Chetham’s’ project which involved young musicians in studying and performing Ustvolskaya’s compositions, underlined the practical value of the research. While supporting the view of Ustvolskaya as a singular composer, the thesis stands to demystify and reevaluate her artistic image.
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Lowe, Bethany Laura. "Performance, analysis, and interpretation in Sibelius's Fifth Symphony." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364710.
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Burling, David. "CT colonography : defining performance and interventions to improve interpretation." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/9380.
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CT colonography is now widely regarded as the optimal radiological technique for colonic examination. However, performance characteristics, particularly relating to interpretation accuracy, interpretation times and polyp measurement have been derived primarily from academic centres in the USA. For successful implementation of CT colonography, such performance characteristics must be generalisable to non-academic centres, different patient populations in different geographical locations, and different clinical environments. This thesis aims to investigate current UK implementation and to determine the interpretative performance of observers across the UK and Europe, focussing on those interventions influencing reader accuracy and polyp measurement. The first chapter reviews the technique, diagnostic performance and clinical role of CT colonography. It is followed by two surveys revealing CT colonography is widely available across the UK NHS, and that hitherto unsuspected complications do occur, although CT colonography appears relatively safe in routine clinical practice when compared to alternatives. The effect of directed training on reader performance is investigated in a multi-centre European study and shows that experienced radiologists are significantly more accurate and time-efficient when reporting CT colonography compared to specifically trained but less experienced radiologists and radiographers. A subsequent study also shows they are more accurate than radiologists offering CT colonography in UK clinical practice routinely. Trained radiographers can perform as well as their radiologist counterparts. The accuracy of polyp measurement is investigated and the effect of different visualisation displays determined. Results suggest that an optimised 2D display utilising a 'colon CT window' should be recommended. Finally, we show that an automatic measurement software tool improves inter and intra-observer agreement for polyp measurement 'in vitro' although the benefit for in-vivo measurement is less clear.
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Benmusa, Tammam A. "The processing and interpretation of communication network performance data." Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/13503.
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There is an increased demand for higher levels of network availability and reliability. Effective monitoring is necessary to help meet this demand. Loughborough University's High speed Network (HSN) group and many other research groups have preformed significant research related to the monitoring of communication networks and the subsequent processing of the information collected in a meaningful way. This thesis takes latency as an example performance metric. The term 'Data Exception' is then employed to describe delay data that is unusual or unexpected due to some fundamental change in the underlying network performance. Examples of such changes include significant changes in usage patterns or planned alterations. The objective of this work is to process and interpret such communication network performance data at higher levels of understanding, and will focus on three main points:- • Developing a rule based algorithm to automate the detection of Delay Data Exceptions. • Correlating Delay Data Exceptions in different routes in a network to detect the location and the characteristic of the event that caused these Exceptions. • Predicting the effect of an external event on network performance. In addition to the above three points, the research started by improving a previously published technique for detection and classification of Delay Data Exceptions. The nature of the delay patterns in a commercial communication network was the key issue in developing the algorithm for the first section of the work, and a Neural Network was used in the last two research areas. The monitored delay data used in this work was obtained from different sources; the historical performance data of a commercial network, data from simulation and monitoring of test network in previous related research, and also by monitoring two experimental test networks built in the laboratory. The results of the detection algorithm show an improvement in detection performance, and provide more generality and independency of the source of the delay data. The outputs of the approaches used in the event detection and the performance predictions work give good results, and show potentially the ability to locate the underlying events.
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Love, N. Eric. "The wounded storyteller in performance /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164526.
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Du, Pont Abe James. "Defining performance targets through interpretation of standard comparative performance information / Abe James du Pont." Thesis, North-West University, 2004. http://hdl.handle.net/10394/9630.
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Setting performance targets for a business is a strategically important function. These targets
focus the efforts of teams and team members, and as such define the direction of development of
the business's competencies and thus its competitiveness. In the highly competitive world of
commodities, it is imperative that resources be focused optimally. This implies that the focus be
placed on those few aspects that if achieved, it would yield maximum benefit.
The objective of this report is to, for the Natref refinery:
• Define and prioritise those business aspects that should be focused on over the next three
years so as to maximise profit and long-term competitiveness,
• Define target performance levels for the respective aspects, and
• Define interim targets that could be applied in yearly performance incentive schemes.
The aspects of importance for Natref have been defined through an analysis of the South African
liquid fuel industry, its profit profile and the implications for Natref specifically. Benchmarking
was primarily based on the 2002 refinery performance survey, as executed by Solomon
Associates.
Optimal profit performance is subject to the combination of optimal integration, and optimal
relative performance of the contributing functional roles. Over-emphasis of one role relative to
another inevitably results in lower than achievable long-term profitability.
Benchmarking the relative performance of refineries is complicated by the extensive differences
between refineries and their respective business situations. As a result, technical aspects can be
consistently compared through a process of normalisation and peer groups. However, no
fundamentally sound method could be found to compare the overall performance of refineries in
different business situations. Return-on-investment and refining margin were evaluated, but
found unsuitable for this purpose. As a compromise, the Profit Index as developed by Natref, is
proposed for evaluating integrated refinery performance. In addition, a new parameter, the Profit
Potential Index, aimed at measuring growth of relevant value-adding capability, is proposed.
Evaluation of and performance targets for total cash cost, fixed cost, and variable cost, round of
evaluation of integrated performance.
Total production cost, including fixed and variable cost, has to improve by approximately 10%
to be competitive with the Asia-Pacific peer group and other South African refineries. It is
proposed to achieve a 10% composite cost reduction over the next three years. The targeted
improvement in energy consumption, if achieved, could represent the full 10% reduction in
operating cost.
It was found that Natrefs performance in terms of energy efficiency was of the poorest of all the
refineries included in the 2002 benchmarking survey. Given the increasing cost of energy, it is
considered critical to improve energy efficiency. The proposed three-year performance target of
92 Ell, if achieved, will result in matching the average energy performance of the Asia-Pacific
peer group, but will still fall short of the energy efficiency of the best performers in the group.
Refinery availability is of strategic importance in the current industry situation where Natref
production is cut back due .to over-capacity and tactics. It is thus recommended that performance
in terms of availability be targeted to be first quartile, whereas third quartile performance was
achieved in the 2002 benchmarking survey. The overall availability performance is required to
increase to 96. 7%.
The following practices are recommended for implementation in addition to the performance
targets set:
Operating cost is strongly influenced by the R/$ exchange rate. Systems are required to proactively
identify the impact of this exchange rate.
In contrast with previous practice of always operating Natref at full capacity, Natrefs production
rate is subject to market share, product demand and price competitiveness since termination of
the Main Supply Agreement. Sasol' s overall unbalanced product slate results in Sasol being long
in petrol production capacity and short in diesel production capacity. Sasol is thus obliged to sell
part of its petrol production at discount prices, which motivates other producer-distributors to
maximise their production of diesel and to minimise petrol production. Marginal sales are in
competition with the marginal cost of production with other South African refineries for inland
sales, and with that of Asia-Pacific peer group refineries for export markets. More emphasis is
thus required on knowledge of marginal production cost, and on minimising marginal production
cost than was before.
It is concluded that producer-distributors utilise the imbalance in product supply capacity
stemming from Synfuels' product slate to negotiate price discounts. It would thus be in the
interest of the producer-distributors to increase their production capacity according to demand
growth so as to maintain the petrol over-supply situation and thus reduced purchase prices.
The optimisation model for the refinery forms the backbone towards determining not only the
marginal cost of production, but also for optimisation of business decisions, crude purchasing,
profit apportionment between the Shareholders, and for determining the Profit Index and the
Profit Potential Index. As such it is recommended that the accuracy of this model be targeted at
15USc/bbl.
Finally, crude oil cost represents approximately 90% of the overall production cost. Yet the
refinery has only indirect input on crude slate optimisation, i.e. via the accuracy and number of
crudes represented in the refinery model. It is recommended that this input be expanded.MBA, North-West University, Vaal Triangle Campus, 2005
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Heywood, Simon R. "Storytelling revivalism in England and Wales : history, performance and interpretation." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/14629/.
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This study discusses the storytelling movement in England and Wales as an example of the traditional arts "revival." "Revivals" are qualitatively different from mature traditions, but this distinction eludes theorisation. This creates shortcomings in the literature, which are identified and discussed. It is concluded that mature traditions and "revivals" are both subcategories of traditional milieu. The "revival" is distinguished, firstly, by its attenuated diachronic chains of transmission and synchronic bonds of social cohesion, resulting in a loss of deep aesthetic consensus in the participant group; and, secondly, by its self-traditionalisation: its selfconscious self-presentation as a traditional form socioculturally opposed to a traditionless mainstream modernity. The "revival" is therefore often understood as a nostalgic and symbolic re-enactment of desired sociocultural conditions. The study is an inductive, transparent consideration of storytelling revivalism in England and Wales in the light of this preliminary conclusion, considering three issues: the history of the movement; the whole-group performance of storytelling events; and emic interpretations and understandings of involvement, elicited in interview. The evidence is that storytelling revivalism is part of a long-lived appropriative process transcending sociocultural distinctions; that its performative idioms do not express but mediate - eventually, undermine - its iconoclastic separateness from modernity, integrating the formally "revived" form into the informal mainstream; and that interviews demonstrated nostalgic sociocultural beliefs to be contingent and of secondary importance to aesthetic experience. In conclusion, revivalistic communities indulge selfconscious self-traditionalisation sparingly and reluctantly. Emically, it is an uninteresting implication or a necessary cognitive and behavioural stopgap facilitating a deeper experiential familiarity with the form itself "Revival," although occupying an intellectually enfranchised milieu, is properly a nascent non-intellectual, aesthetic and social form. This conclusion overturns the preliminary conclusion, and suggests the general fallaciousness of assuming that cultural forms are primarily coded representations of sociocultural conditions.
11
Wiik, Richard. "Detection and interpretation of weak signals." Thesis, Linköpings universitet, Interaktiva och kognitiva system, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-129943.
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Managing safety at a nuclear power plant is about a complex system with demanding technology under time pressure where the cost of failure is exceptionally high. Swedish nuclear power plants have over the last few years introduced Pre-job Briefing and other so called Human Performance Tools to advert errors and strengthen control. By using the Systemic Resilience Model different views of safety are taken to understand the origin of the signals that leads to a Pre-job Briefing, and how the signal is interpreted, re-interpreted, and presented. The study took place at a Swedish nuclear power plant and included four days of observations and 20 interviewees. The thematic analysis shows a similarity between mentioned origins of Pre-job Briefings and the intended use of Pre-job Briefing. Characteristics of a High Reliability Organisation is shown in practice by a culture of that one will to have a Pre-job Briefing is enough, that sharp end workers is used as a valuable resource for safety and a systematic support to screen jobs over time without influencing non-job related factors. The signals acted upon matched well with the intended, and personnel get several opportunities to evaluate the signals together, striving for best possible circumstances. The Systemic Resilience Model was successfully applied together with a thematic analysis, which strengthens its validity as a holistic model that combines different views of safety in one coherent model. SyRes allowed to present additional themes, leaving the question at what stage SyRes is optimally implemented in a thematic analysis.
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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.
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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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Rosler, Julia. "Acting the part : gender and performance in contemporary plays by women." Thesis, University of Stirling, 2000. http://hdl.handle.net/1893/2399.
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Acknowledging performance as a process through which gender identities are constituted, the thesis explores attempts in women's theatre to subject these very constructs to creative deconstruction. It offers a study of plays by Caryl Churchill, Sarah Daniels and Timberlake Wertenbaker. Setting their work in the context of prevailing discourses of representation, the analysis delineates the ways in which plays by women interrogate the Western tradition of meaning and perception. The thesis proposes theatrical performance as a strategic engagement with the very means by which women's position is constituted. Therefore, it argues that in women's dramatic work, the possibility of resistance, of agency and choice occurs in the playful adaptation of dominant discourse, allowing for new figurations of subjectivity. Exploring the difficulties and limitations involved in this strategy, the study evaluates how plays by women release a potential for transgression which dislocates the structures of representation.
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White, Emily Kathleen. "The Reception of David Mamet's "Oleanna": The Politics of Interpretation and Received Opinion." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626119.
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Carleton, Jill Marie. "Repressing history : interpretation-performance studies and the Protestant modern body of Thomas Sheridan /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008295.
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Haeffelin, Martial P. A. "A Study of Earth Radiation Budget Radiometric Channel Performance and Data Interpretation Protocols." Diss., Virginia Tech, 1996. http://hdl.handle.net/10919/30312.
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Two aspects of the study of the Earth radiation budget and the effects of clouds on our climate system are considered in this dissertation : instrumentation and data interpretation.
Numerical models have been developed to characterize the optical/thermal-radiative behavior, the dynamic electrothermal response and the structural thermal transients of radiometric channels. These models, applied to a satellite-borne scanning radiometer, are used to determine the instrument point spread function and the potential for optical and thermal-radiative contamination of the signal due to out-of-field radiation and emission from the radiometer structure. The capabilities of the model are demonstrated by scanning realistic Earth scenes. In addition, the optical/thermal-radiative model is used for the development of an infrared field radiometer to interpret results from the experimental characterization of the instrument. The model allowed the sensitivity of the instrument response to assembly uncertainties to be determined.
Data processing consists of converting radiometric data into estimates of the flux at the top of the atmosphere. Primary error sources are associated with the procedures used to compensate for unsampled data. The time interpolation algorithm applied to a limited number of observations can produce significantly biased estimates of monthly mean fluxes. A diurnal interpolation protocol using correlative ISCCP cloudiness data is developed to compensate for sparse temporal sampling of Earth radiation budget data. The bias is shown to be significantly reduced in regions where the variability of the cloud cover is well accounted for by ISCCP data.Ph. D.
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Tumlinson, Charles D. (Charles David). "Theoretical Constructs of Jazz Improvisation Performance." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc279169/.
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The purpose of this study was to develop and test systematically a theoretical model that delineated the constructs and subsumed variables of jazz improvisation performance. The specific research questions were; what specific performance variables are related to single line jazz solo improvisation performance? and; what is the most cogent groupings of variables into underlying constructs which characterize single line jazz solo improvisation performances for all performers, student performers, and professional performers?
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Romero, Mario. "Supporting human interpretation and analysis of activity captured through overhead video." Doctoral thesis, Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/29771.
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Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2010.Committee Chair: Gregory Abowd; Committee Member: Elle Yi-Luen Do; Committee Member: James Foley; Committee Member: John Peponis; Committee Member: John Stasko. Part of the SMARTech Electronic Thesis and Dissertation Collection.
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Williams, Bede. "Preparation, rehearsal, performance and reflection : a conductor's autoethnographical study of the process of interpretation." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15665.
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In this study the author investigates his interpretive practice as a conductor, revealing how interpretive operations occur not as discrete and isolated activities, but rather an intertwined cyclic process. The study was based on an experiment of the author conducting five scores on two different occasions separated in time by between one day and several months. The study design included extensive content analysis of over 30 hours of video in which more than 12,000 codes were applied and collated. The study design also included traditional texted research, autoethnographic writing (a 25,000-word practice journal), semi-structured interviews, the use of Sonic Visualiser, and the documentation of a range of score study methods which the author describes as ‘listening in silence'. Although there are numerous studies that compare different performances of the same piece, and consider the extent to which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher. The study develops what the author calls the ‘ethos of multiple interpretability', suggesting that a conductor can be ‘animated by' the belief that there is no single correct way to perform a work specified by a score.
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Ariel, Ido. "Towards the performance of Schoenberg's songs for voice and piano : interpretation and vocal coaching." Thesis, Royal College of Music, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606554.
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Schoenberg's Lied-aesthetic reflected his response to arguments characteristic of the fin-de-siècle word-tone debate. His attitude towards the desired relationship between language and music changed as his musical language developed, moving from tonality to atonality and later to dodecaphony. This thesis offers a methodology for the practical interpretation of Schoenberg's songs for voice and piano, taking this aesthetic shift into consideration. Vocal coaching of Schoenberg's songs raises problems in three related fields: Schoenberg's general Lied-aesthetic; the technical demands of individual songs; and the interpreter's role. A consideration of these topics leads to the formulation of a model of coaching which is used while preparing the songs for performance. The discussion thus examines the underexplored practice of vocal coaching. Three representative songs are analyzed – Erwartung, Op. 2/1, Da meine lippen reglos sind und brennen1, Op. 15/4, and Tot, Op. 48/2. These analyses demonstrate that while the earlier, tonal song creates a consistent web of correspondences between the words and the music, in the later, non-tonal songs such correspondences are more problematic. It is argued that as Schoenberg's thought moved in the direction of absolute music, some procedures in his later songs were considered in "purely musical" terms. When preparing these songs for performance, a dialogue is maintained between the performers and Schoenberg's music and thought. The songs presuppose interpretative norms required for their successful materialization. However, the interpreters necessarily bring their own agendas to the performance. It is argued that inserting analytic insights into the process of interpretation balances between the songs and their performers. This balance is reflected in the process of coaching which sets both goals of accuracy and expressivity as necessary for a satisfying performance. The combination of aesthetical, analytical and practical considerations, thus, enables me to offer a methodological tool for the interpretation of Schoenberg's songs.
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Chou, Chllung-Wel. "Aspects of historical background, literary influence, form, and performance interpretation in Robert Schumann's Carnaval." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1114437718.
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Lin, Chia-Chi, and 林家琦. "The Interpretation and Performance of Cosplay." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/75hy9g.
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碩士國立政治大學
廣播電視學系
107
As a cosplayer, I have been enjoying cosplay for many years; during my graduate school time, I also tried to put it into academic field. After looking deep into this culture, I found that cosplayers are not only coping characters’ outfit but also putting their own interpretation into their cosplay. As a result, I wanted to take cosplay photos and make my own cosplay stories in a website to show that cosplay can not only release our love toward characters but also reveal our thinking and interpretation about those characters. In the future, I hope this essay can help those who want to do research about cosplay to find out more interesting topics in academic field.
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Kuo, Hsin-Ju, and 郭炘茹. "A Performance and Interpretation on Ravel's Tzigane Rhapsody." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/23568629838060004006.
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碩士國立嘉義大學
音樂與表演藝術研究所
97
Gypsy music has long fascinated and inspired the world’s great composers. From Brahms, Enescu through Ligeti, the Magyar spirit has emblazoned concert halls around the globe. Tzigane by Maurice Ravel is one of the most popular concert pieces for the violin. For violinists, it is a very challenging show piece which requires a great deal of virtuosic skills. For audiences, on the other hand, it is a light-hearted and exotic piece. Although a good number of music critics have mocked Tzigane as circus music--full of entertainment but hardly any artistry, yet it has stood firm and remained one of the most favorite show pieces since being published in 1924. Ravel created this work under the influences of violin virtuoso Nicolo Paganini, and there are many violinistic references from Paganini’s 24 caprices. If one wants to perform this work successfully, he/she not only has to conquer all the necessary violinist techniques, but also to understand its structure, particular style, composer’s background thoroughly. This paper is divided into five chapters. Chapter One is the introduction of this paper. Chapter Tow consists of an overview of Ravel’s historical background, his important compositions, and his contributions to Western music. Chapter Three is the analysis of Tzigane. Chapter Four is performer’s interpretation and comparison of different historical recordings. Chapter Five is the conclusion of this paper.
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Lin, Jia-Huei, and 林佳慧. "Performance Interpretation of Chopin 24 Preludes, Op. 28." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/96jkv8.
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HO, CHIH-YUN, and 何芝芸. "Performance and Interpretation of “Ariettes oubliées” byClaude Debussy." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/xxy4b7.
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碩士國立臺灣藝術大學
音樂學系
106
Ariettes oubliées (Forgotten Songs) is a song cycle for voice and piano written by Claude Debussy (1962 – 1918) in 1888. It is based on poems by French symbolist poet, Paul Verlaine (1844 – 1896). The texts rather evoke than to describe the sorrowful emotions of Verlaine, while the music creates a corresponding atmosphere with its harmonies and tonalities. This thesis aimed to study the uses of pitches and dynamics of the human voice in order to connect texts with music in the songs. There are four chapters. Chapter one introduces the aim and methods of the study, chapter two provides compositional background of the piece, including biographies of Claude Debussy and Paul Verlaine, as well as the relationship between them. The third chapter presents some interpretative ideas of Ariettes oubliées, which based on studies of the original poems and the musical structures. The last chapter summarizes the whole study.
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Chen, Wen-Chieh, and 陳玟潔. "The Performance and Interpretation of Fauré's La bonne chanson." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/9kmdu7.
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碩士國立臺灣藝術大學
音樂學系
101
The predecessor of French art songs came from Romantic period, dating from the 18th century to the first half of the 19th century. Most early composers of French art songs used “Parnassian” and “Symbolism” poems. Fauré composed more than 100 art songs during his lifetime. La bonne chanson has a song cycle of nine mélodies for voice and piano. It was composed in 1894. The cycle is based on nine of the poems from the collection of the same name by Paul Verlaine. In 1898, he created a version for voice, piano and string quintet. This cycle song was composed at the end of the 19th century. During that time, symbolists in French raised Symbolism upsurge. Tonality, cadence, motifs, and the relationship between lyrics and melody was well organised and the musical expressions embodied in each part of the mass were fully studied.
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Weng, Chih-Ting, and 翁誌廷. "The Performance Interpretation of R. Schumann's Song Cycle "Ditchterliebe"." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/geexej.
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Huang, Hui-Chun, and 黃惠君. "The Research and Performance Interpretation of Frédéric Chopin’s Four Ballades." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/21536744897300534817.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
99
Frédéric Françiois Chopin was one of the most important composers in the 19th century. He devoted himself to writing diverse piano music during his lifetime, and created a large number of popular works that possessed unique music syntax and characteristic. Chopin was the first composer to write a Ballade as an instrumental musical work to express the connotation of literature. His four Ballades contained abundant musical material and literary associated speculation between ballades and ballads, but there was no fixed structure of musical form. As the diversity of ballades, it had caused a lot of research and discussion. This thesis is divided into six chapters and probing into Chopin’s four ballades. The first chapter is introduction, explaining author’s research motivation, purpose, methodology of writing this paper. The second chapter introduces the life of Chopin and through his background to find out the reasons for the formation of musical styles. Finally, summarizing Chopin’s compositional techniques and music characteristics. The third chapter introduces the development of the ballade, association with national sentiment, and compositional background of Chopin’s four ballades. The forth and the fifth chapter, I would focus on the analysis and interpretation of these ballades, and the sixth chapter is the conclusion. By theses research process, it is hope that performer can understand more about the ideas of interpreting in playing Chopin’s ballades.
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YEN, CHIA-LING, and 嚴嘉玲. "The Performance and Interpretation of Hector Berlioz’s Les nuits d'été." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/4824ka.
Full textAbstract:
碩士國立臺灣藝術大學
音樂學系
105
Louis Hector Berlioz was one of the most influential French composer in the early 19th century. He composed the significant works Les Nuits D’été between 1840 and 1841. Les Nuits D’été is based on the six poems selected from La Comédie de la Mort by Théophile Gautier. The original composition was piano accompaniment for vocal. Later between 1843 and 1856, Berlioz created a orchestral version that express more intensify and musical expression. The thesis focuses on the Berlioz’s creative arts career, also examine the meaning of the source poetry. Additionally, a traditional formal analysis of the works will be presented. Through these analyses the researcher will give suggestions for interpretation of these works.
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LAN, ZHENG-HE, and 藍正和. "Musical Analysis and Performance Interpretation of Frédéric Chopin’s Four Scherzi." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3667r5.
Full textAbstract:
碩士國立臺灣藝術大學
音樂學系
106
Chopin was one of the most important composers in the 19th century romantic period. Most of Chopin’s major compositions are piano solo works, and the scherzi are among Chopin’s best works. The genre of scherzo appeared as early as in the baroque period, and subsequently Beethoven often included scherzo as a sonata movement to replace the minuet movement in the classical period. During the romantic period, Chopin expanded the length and structure of scherzo to become an independent musical genre, which marked a significant development of the scherzo. This research focuses on the compositional background, musical analysis, and performance interpretation of Chopin’s four scherzi. It consists of six chapters. The first chapter is an introduction explaining the overall research method, purpose and motive. The second chapter discusses the biographical and social background of Chopin and its influences on his compositional development. The third chapter is the historical background of scherzo and its development up to the modern era. Fourth and fifth chapter include musical analysis and performance interpretations of the four scherzi. These chapters discuss the structure and compositional technique of each scherzo and its performance practice accordingly. Finally, the sixth chapter is the conclusion of this research.
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Liu, Chien Ni, and 劉茜妮. "Interpretation and Performance of Richard Strauss’s Lieder 《Vier Letze Lieder》." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/98660234596470314064.
Full textAbstract:
碩士國立臺灣藝術大學
音樂學系
103
Richard Strauss（1863-1949）was an important post-romantic composer. He composed nearly 200 lieder, along with operatic and orchestral works, combined the classical and romantic styles, and brought about his own unique style. This study will examine one of Richard Strauss’s important works during his late period: Vier Letzte Lieder. By examining Strauss compositional technique in Vier Letzte Lieder, we can further reveal his thoughts on music and life near his death. The order of Vier Letzte Lieder is by the first piece Frühling, second piece September, third piece Beim Schlafengen, and lastly Im Abendrot. Frühling was descripted Richard Strauss looked forward to the coming of spring. Secondly, September was showing Richard Strauss feel helpless against the changes of weather. Beim Schlafengen was telling that Richard Strauss was trying to rest peacefully with his exhausted body and life. Lastly, Im Abendrot was a piece which Richard Strauss wrote for his wife as an elegy, for all the sweet memories he had with his wife till the end of life. This study contains five sections: Chapter 1 contains the research motivation, purposes and methods. Chapter 2 introduces Richard Strauss’s life and his musical style. Chapter 3 explains the background of Vier Letzte Lieder and introduces the poets, whose poems are set by Strauss. Chapter 4 analyzes Vier Letzte Lieder in detail, and gives recommendations for interpretation. The last chapter presents the conclusion.
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Huang, Yu-Hsiang, and 黃裕翔. "A Study and Performance Interpretation of Leonard Bernstein’s Clarinet Sonata." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/62485213815468709030.
Full textAbstract:
碩士國立高雄師範大學
音樂學系
103
This thesis focuses on Sonata for Clarinet and Piano composed in 1942 by the famous twentieth-century American musician Leonard Bernstein (1918-1990). In his essay titled The Absorption of Race Elements into American Music for bachelor degree at Harvard University, Bernstein investigated how ethnicity in American music transformed from “material” one to “spiritual” one and how musicians, immersed in such melting pot, created music that is inherently American. This Sonata, the very first published work by Bernstein, puts this theory into practice. It represents not only American style but also Bernstein’s personal music vocabulary. There are five parts in this thesis. The first section is introduction, including research motives and purposes. The second one deals with the background information of Bernstein’s life and this musical composition. The third part analyzes Bernstein’s work from musical perspective and puts forward suggestions for interpretation. The fourth one discusses the composer’s creative style. The fifth part is the conclusion.
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Chen, Hsiao-Peng, and 陳曉芃. "A Study and Performance Interpretation of Aaron Copland’s Clarinet Concerto." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/05826092567776806539.
Full textAbstract:
碩士國立高雄師範大學
音樂學系
103
This study focuses on the musical background, analysis, interpretation and performance suggestions of the Clarinet Concerto by the American composer Aaron Copland (1900-1990). The work was commissioned by the American clarinetist, also known as the “King of Swing,” Benny Goodman (1909-1986). This concerto combines concepts of jazz music and folk rhythms which Copland heard in Brazil when he was invited to visit South America. The study is divided into four chapters. Chapter one is a brief outline of the motives, goals, and scope of this research. Chapter two is an introduction of the composer’s life and a background overview of this concerto. Chapter three is an analysis of the work, dwelling on aspects such as formal structure, tonality, rhythm, and musical texture. Based on the analysis and personal interpretation, performances suggestions for the work are also provided. Chapter four is the conclusion, which summarizes all the findings in the previous chapters as well as the writer’s opinion on this concerto.
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LIN, YI-HSIU, and 林怡秀. "The Performance and Interpretation of Gustav Mahler's “Five Rückert Songs”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/86068068879041495095.
Full textAbstract:
碩士國立臺灣藝術大學
音樂學系
99
Gustav Mahler (1860~1911) is the composer of the later stage of Romanticism. The Symphonie and the Lieder are the two major types of Mahler’s creation. In his creation, the symphonie and Lieder have close relations, the melody in the songs is often a theme in the symphonie. In Mahler's numerous Lieder, I prefer the works of his later stage, which were composed from the collections of poems of the poet Friedrich Rückert (1788~1866). I was motivated to study these works because I have gone through the same pain of losing a daughter, as Mahler and Rückert did. The thesis is mainly about the study of Mahler’s Lieder “Five Rückert Songs” and the background of his creations as well as the study of his other songs and works. This thesis is divided into seven chapters, Chapter one is the introduction, introduce the motive and method of the thesis. Chapter two is about Mahler's life and his Lieder. Chapter three is the study of the poem style of Rückert. Chapter four is the study of the background of the creation and the first performance of “Five Rückert Songs”. Chapter five is the study and analysis of “Five Rückert Songs” and the interpretation of the result of the study in singing performance. Chapter six is the comparison of Mahler’s works of “Five Rückert Songs” with the “Kindertotenlieder”. Chapter seven is the conclusion.
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Chun, Liu Yu, and 劉郁君. "A Performance Interpretation Of The Trumpet Concerto By Joseph Haydn." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/12479360511262587593.
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Hu, Ya-Ting, and 胡雅婷. "An Analysis and Performance Interpretation of Chopin Ballade Op. 52." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/71169513953660919547.
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Eckerson, Sara Ellen. "Beethoven's Dolce : interpretation, performance, and description - The case of music." Doctoral thesis, 2016. http://hdl.handle.net/10451/26128.
Full textAbstract:
This dissertation aims to describe the role of Beethoven’s dolce indications in the
staves of a musical score. We will thus explore Beethoven’s dolce in contexts of
theoretical interpretation, performance, and critical descriptions of meaning in music.
We first will examine performance practice and Beethoven’s dolce indications in a
symphonic setting (Symphony No. 3 in E-flat Major, Op. 55, “Eroica”) and in piano
sonatas. We will highlight historical and current performance practice to find grounds
for the unique way Beethoven uses expressive indications (for example, dolce,
cantabile, and espressivo) in the staff. The second part of this dissertation will
investigate nineteenth century hermeneutics and Friedrich Daniel Ernst
Schleiermacher’s hermeneutic theory to show the resonances between the critical
activity of interpreting texts and the activity of interpreting and performing music. In
the final part of this dissertation, we will discuss a critical method developed by the
theorist, pedagogue, and music historian Adolf Bernhard Marx (1795-1866). Marx
determines this critical method in the context of how to explicate meaning in
instrumental music, which is namely through simile, symbolism, and psychological
coherence. We will conclude this dissertation by describing the importance of
material considerations in A. B. Marx’s theory of a musical Idee. Furthermore, we
will comment on the role of the Idee as a bridge between the material considerations
required for performance practice and the “spiritual” activity that is needed to explore
deeper meaning in music.O objectivo desta tese é descrever o papel das indicações musicais, em especial de dolce, no contexto dos compassos das pautas de Beethoven. Por conseguinte, vamos analisar as indicações de dolce de Beethoven em diferentes contextos: interpretações teóricas, musicais [performance] e também descrições críticas de significado musical. Na primeira parte da tese fazemos um estudo de interpretação musical no contexto sinfónico, em particular das indicações de dolce que podemos encontrar na Sinfonia n.o 3 em Mi Bemol Maior, Op. 55 “Eroica,” e ainda nas sonatas para piano de Beethoven. Analisamos as teorias históricas e actuais sobre a interpretação [performance] destas peças para desenvolver um fundamento para a tese de que Beethoven compõe usando dolce, e ainda outras indicações como cantabile e espressivo, de uma maneira única e particular. A segunda parte da tese analisa a teoria hermenêutica de Friedrich Daniel Ernst Schleiermacher para demonstrar a ressonância entre uma actividade crítica textual e a actividade de interpretação musical (performance e crítica). Dedicamos a terceira parte da tese a uma explicação da teoria crítica do significado musical desenvolvida pelo historiador da música, pedagogo e teórico Adolf Bernhard Marx (1795-1866). A teoria crítica de Marx indica que o significado de música instrumental pode ser explicado através dos conceitos de símile, simbolismo e coerência psicológica. Concluímos esta tese com uma descrição da importância das considerações materiais do conceito de uma ideia musical [Idee] de A. B. Marx. No final, discutimos como considerações da matéria musical podem fazer a ponte entre a interpretação musical [performance] e a actividade espiritual necessária para estabelecer um significado profundo em música.
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Chen, Chia-hui Niky, and 陳佳惠. "Ear-voice Span and Performance in English to Chinese Simultaneous Interpretation." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/62903947081236337672.
Full textAbstract:
碩士國立彰化師範大學
翻譯研究所
101
Time lag between the source text (ST) uttered by the speaker and the target text (TT) delivered by the interpreter is defined as ear-voice span (EVS). EVS is a pivotal variable because it is observable and objective which provides insight into the cognitive load and cognitive processing involved in simultaneous interpretation (SI). This study aims to investigate the average EVS from Chinese to English in SI and the relationship between EVS duration and performance. Thirteen interpreting majors from two institutes who have Chinese A and English B participated in the study. They were asked to perform simultaneous interpreting from English to Chinese. Thirteen dual-track recordings and 13 post-experiment questionnaires were collected from the experiment and analyzed to explore the following: (1) the average EVS in English to Chinese SI; (2) the relationship between EVS duration and error types; and (3) the relationship between EVS duration and TL rendition. Barik’s (1994) categorization of interpreting errors and Liu, Chen, Chang, Lin &; Wu’s (2007) criteria for assessment of fidelity in interpretation were adopted for error analysis and accuracy evaluation. The findings suggested that the average EVS from English to Chinese is 3.7 seconds and five error types were related to EVS duration: the skipping omission of single words (M1a), the skipping omission of single phrases (M1b), the comprehension and delay omission (M2), the mild semantic error (E1) and the closure addition (A4). The results also indicate that EVS duration is significantly negatively related to accuracy in TL rendition. Longer EVS duration was associated with lower accuracy score. Long EVS (> 5 seconds) not only had the negative impact on the current working sentence but might also on the processing of the incoming sentences. Based on the error analysis and the accuracy assessment in the study, the possible appropriate EVS range is from 2-4 seconds.
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Wang, Lu-Chia, and 王璐加. "The Analysis and Performance Interpretation of Frédéric Chopin’s Etudes, Op.10." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/16601107647176905292.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
98
Among the romantic musicians in nineteenth century, Fryderyk Franciszek Chopin (1810-1849) had the most contribution for piano music. He had a passion in creating piano music. He composed almost two hundred pieces in his life time and over 169 of these pieces were for piano. The most impressive matters in Chopin’s piano compositions were the difficulty of the playing technique and the poetic of the music. These two characteristics were revealed in his piano etude without a doubt. Chopin’s piano etudes are not only to practice the fingering technique, but they are also full of “thought-provoking” and “poetic”, which had higher the level of piano etude and made etude has the value of art. This article is divided into five chapters and probing into the etudes Op.10 by Chopin. The first chapter is introduction, mainly stating author’s motivation, purpose, range, and method of this study. The second chapter is the research of Chopin’s life and characteristics of his music. The third chapter is the study of etudes Op.10 about the background, harmony, tempo, and playing technique of this piece. The forth chapter is the interpretation of etudes Op.10. Last, the fifth chapter is the conclusion. By analyzing Chopin’s etude and studying of his playing technique, author is expected to learn more about the technique of interpreting in piano music.
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Wu, Chien-Ying, and 吳芊潁. "Musical performance and interpretation of Beethoven's Missa Solemnis in D major." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/37055269030712052947.
Full textAbstract:
碩士國立臺南大學
音樂學系音樂科教學碩士班
103
This thesis is composed of four main sections: (1) Through investigating the relevant literature and analysis of Mozart’s compositions and it seeks to clarify the creative styles seen in Mozart's works categorized into several stages throughout his composition career. Not only will the Mass be considered within its religious context but also through the analysis of his stylistic development, one can grasp the collective compositional thoughts from other works that contribute towards the Mass. (2) Musical expressions in Missa Solemnis: By following the cycle of five texts in the mass—the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei—the relationship between lyrics and music is further explored. In addition, how tonality, cadence, motifs, relationship between lyrics and melody line are organised as well as the musical expressions embodied in each part of the mass are fully studied in order to understand the virtuosity and excellence of Beethoven’s Missa Solemnis and to provide a reference for music appreciation teaching or music theory. (3) Musical interpretation of “Missa Solemnis in D major”: Based on the overall musical expression of lyrics, style, form, motif and melody in this work, a personal interpretation of how it can be performed is presented as a reference for future performers and further research. (4) Conclusion on the study of the three parts mentioned above.
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Ke, Niejia, and 柯乃嘉. "An Analysis and Performance Interpretation of Chopin’s Polonaise-Fantaisie, op.61." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/98d93z.
Full textAbstract:
碩士輔仁大學
音樂研究所
101
Polonaise-Fantasie was completed in 1846 and was the last piece of Chopin’s to contain both polonaise and fantasia in its title. Chopin thought over how to name this composition several times before finally deciding on incorporating both the polonaise and fantasia into the title. Since the music not only shows polonaise qualities but also contains characteristics of fantasia, this article is an attempt to understand Chopin’s music creation and style through the analysis of relevant information, to compile the sources, development and characteristics of polonaise and fantasia through references, and to discuss the techniques and fashion with which Chopin created this combination of polonaise and fantasia. To conclude, in order to appreciate the suitable interpretation for this masterpiece, one can summarize the content and features of the Polish dances and fantasia by analyzing the structure, harmony, rhythm and melody of Polonaise-Fantasie, which will render an accurate delivery of the spirit and style in performance.
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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.
Full textAbstract:
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
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PANG, LONG-KEI, and 彭朗琪. "Performance and interpretation of Fiordiligi from Mozart's opera "Così fan tutte"." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4336kg.
Full textAbstract:
碩士國立臺灣藝術大學
音樂學系
106
Wolfgang Amadus Mozart (1756 – 1791) is an Austrian composer who enjoys a world-recognized fame. He composed more than six hundred instrumental and vocal music works. In the musical creation of Mozart, apart from the famous symphony and concerto, twenty-two operas composed in his mature period also play important role to the world. During the time in Vienna, Mozart composed three famous opera buffa with Lorenzo Da Ponte, among which there is the Così fan tutte finished in 1790. The thesis studies two arias of Fiordiligi, the soprano role in Così fan tutte, combined with the discussion of Mozart’s lifetime and his opera works. The author also investigates into the creation background of the opera and the influence of the social climate and moral ideal of the time. The author analysis the creation motivation and the characteristic of Fiordiligi, the voice feature of Adriana Ferrarese del Bene, the style and the dramatic elements of two arias. This thesis includes six chapters. The first chapter introduces the motivation and the research method. The second chapter introduces the lifetime of Mozart and Lorenzo Da Ponte. The third chapter studies the composition background and the premiere of opera, with a detailed introduction of the moral ideal of the time, and focuses on the discussion of Adriana from the perspective of her lifetime, vocal performance experiences and the influence of her voice characteristic on the creation of the opera. The fourth chapter presents the scenario and the relationship between different characters of the opera and also analysis the characteristic of Fiordiligi. The fifth chapter investigates into the two arias of Fiordiligi by analysing how Mozart combines the music with the elements of drama and the emotional evolution of the characters. This chapter also studies the key points and difficulties in interpretation from the perspective of personal study experience. The sixth chapter draws a conclusion to the thesis.
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CHEN, YEN-CHI, and 陳彥綺. "A Study on Production and Performance Interpretation of “Trilight like Twilight”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/wmt27p.
Full textAbstract:
碩士國立臺灣體育運動大學
舞蹈學系碩士班
105
This dissertation discusses and analyzes author’s role in participation of “Trilight like Twilight“, as a producer and dancer.In this dissertation, it studies individually, the process of administrative production, the body expression and interpretation and analysis of dances.This dissertation can be divided into five chapters. In the first chapter, introduction, it delineates author’s background and experiences of dance learning, motivation and purpose of the production, explanation of the limitations and definitions of the terms.In the second chapter, literature review on interpretation of performance, the author explains her production method and individual interpretation based on theoretical approach. In the third chapter, performance content and production framework, it explains dance performance and the production process of Trilight like Twilight. In the fourth chapter, performance interpretation and body expression, it analyzes author’s participation in her previous performances such as, ”The Rite of Sacrifice”, “Korean Drum Dance”, “Points．inch”, “Still Here”. Meanwhile, author explains her method of interpretation, exploring of body expression and process of breakthrough. In the fifth chapter, conclusion, it summarizes author’s production experience and feedback from the audience. The findings suggest that the majority of audience have positive comments on Trilight like Twilight, so it assists me to achieve better in my future self-development.
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Fan, Wen-Chi, and 范紋綺. "Chopin''s four Ballades of Musical and Performance Interpretation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/94147102345400132794.
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Hsu, Wei-Ling, and 許瑋玲. "【Before 30……】My Experiences of Practical Stage Performance and Character Interpretation." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/gj29gm.
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Tsuo, Mei-Chun, and 卓玫君. "An Interpretation on the Theatricality of Wu Su Xia''s Performance." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/4nbz34.
Full textAbstract:
博士國立臺北藝術大學
戲劇學系博士班
101
There are two goals of the thesis. One is to record the secrets of performance of an excellent actress of Chinese classical theatre. Hopefully it will help the successors improve their skills. The other one is to survey the origin of the Chinese drama through the viewpoints of an living actor. For Example, why do the actors perform the songs, gestures and dialogue at the same time in the stylish way? Why do they seperatet the pronunciation of each Chinese character into three parts when they were singing the lyrics? Why do they use Lo-Li-Lien mantra to purify the space of theater and honor the god of Theatre? Why are there no tragedies in the Chinese drama? The origin of Chinese theatre is still a mystery. Many scholars agree the influence of the India classical theater to some extent. However, it is a pity that there is no direct evidence to support the hypothesis till now. But no later than Tang Dynasty, people should have been familiar with the performing form of Esoteric Buddhism(Vajrayāna)’s ritual, which was disseminated to ancient China from India. The performing factors of the ritual are called “Three Secrets”which refers to body(mudrā), mouth(mantra)and mind(meditation). Obviously the performing structure of the synchronic presentation of the three factors should have had influenced the form/content of the Chinese classical theatre. The theatre Wu Su Xia masters is called Tsit4-Kio-Hi3, which is considered one of the living fossils of the oldest drama of China. Since it is considered to preserve some factors of ancient Chinese theatre, and both the Esoteric Buddhism and Chinese classical theatre has common in the performing structures, the thesis try to use the three-secret-structure as the research frame to study Wu’s performing viewpoints. Maybe in this way we could find out some clues to the origin of Chinese classical theatre.
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Chen, Hung-Tao, and 陳竑道. "A Study of The Dizi Performance and Interpretation of Li Zhen." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/61456148308518681726.
Full textAbstract:
碩士中國文化大學
中國音樂學系
104
Abstract Master Li Zhen is a well-known Dizi performer in China. He dedicates his music passions to his compositions, and he has made great efforts in relations to researches of Dizi. The interpretation by Li Zhen is featured in his unique textures: the rough sound from the North mixes the tender sound from the South. In addition, he has lived in Inner Mongolia for many decades. It can be heard in his musical works and his performances with unique Mongolia music styles. Li Zhen has profound influences upon Dizi. Moreover, Li Zhen is succeed in revising different kind of Dizi. For instance, he made a breakthrough to expand more octaves by developing new fingering on traditional Six Holes Dizi. Li Zhen has created a Double-filmed Bass Dizi which is made of glass steel. This new instrument can avoid to dry and crack from the traditional Dizi. This dissertation is aim to analyze and to organize the discourse of the performance, interpretation, compositions and innovations of Dizi by Master Li Zhen. The discourse is based on the preferences, scores and interview with Li Zhen. It can be seen as a reference of Dizi for other Dizi performers in terms of performances, compositions and innovations. Keywords: Dizi, Li Zhen, Mongolia
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Bevan, Michael. "Aspects of interpretation and improvisation in the performance of Brazilian guitar music." 2008. http://hdl.handle.net/2440/50721.
Full textAbstract:
This research into Brazilian music in general, and choro guitar music in particular, focuses primarily on the various and contrasting ways in which the repertoire is interpreted by Brazilian choro musicians, classical guitarists and jazz guitarists. Socio-cultural traditions and conventions are also explored. An important facet of performance in the Brazilian tradition is improvisation. The appropriateness of various improvisational approaches, including those used in jazz, are discussed. The research incorporates two 60-minute recitals, one of traditional Brazilian choro and the other of different Brazilian styles played in a jazz group setting, and these are central to the following exegesis.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008
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Huang, Chien-Ying, and 黃千盈. "The Analysis and Performance Interpretation of Franz Schubert’s piano sonata D.784." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/22894593746044924907.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
100
Schubert was one of the most important composers in the early Nineteenth century. He wrote 21 piano sonatas that loved by the performers. When Schubert wrote pinao sonata D.784, he met crisis in his life. This work contains different styles in music expression compared to early works. This thesis contains five chapters. The first chapter is the introduction, including the author’s motivation in analyzing the music structure and performance interpretations of Piano Sonata D.784, as well as the scope of this thesis and the methodology used. Chapter 2 states Shuberts biography, music works and an overview of Shuberts piano sonatas. Chapter 3 is an analysis of Piano Sonata D.784 through music phrase structure, harmonic progression and tonality, rhythmic patterns, and melodic lines and textures. Chapter 4 describes the possible performance interpretations of Piano Sonata D.784. It is a collection of techniques found from piano lessons, literature reviews concerning performances, and the author’s personal performance experiences. Chapter 5 concludes authors research and personal performance experiences of this work. It is hoped that this thesis can provides the interpretive reference to people who are interested in Shubert’s piano music.