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Dissertations / Theses on the topic 'Piano Duo'
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Juras, Max. "Duo-piano med mig själv." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1618.
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Gordy, Constance Annette. "The duo piano experience : nonverbal communication between ensemble musicians." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ39126.pdf.
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Trum, David W. "wood, metal, and vibrating air." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337287625.
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Facchini, Fiammetta. "Psycho-physio dynamics in violin-piano duo: a pianist's perspective." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13820.
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Doutoramento em MúsicaThe case study looked at psychological and physiological responses to stress in musicians, comparing a newly formed and a consolidated violin-piano duo. The common element between these duos was the pianist. Using the psychological tests (STAI Y1 and Y2, K-MPAI, MMPI-2, ICAC), the immunoassay saliva test to measure cortisol (stress hormone) and non- invasive device VitalJacket® developed at the University of Aveiro, Portugal, participants were monitored under various performance conditions. Others quantitative and qualitative dataset were collected including a pianist’s personal diary (analyzed by psychiatrist), semi-structured interviews with members of long-terms chamber music duo and perceptual evaluations (listening test) of the performances by expert listeners. The variables included two performance venues (European university and secondary school), as well as well-known repertoire, recently known repertoire and newly known repertoire. The latter was given approximately one week before each recital. The psychological and physiological dataset were collected for a total of eight recitals – two series of four recitals each. The unexpected results show that state anxiety levels and stress of the pianist, who does not present an anxious profile, either in social or in musical terms, are always higher when playing with a well-known partner. Possible explanations may be due to the highest expectations for quality of performance and implications of mirror neurons (since the reactions are very different according to the partner). In other words, the “known” (i.e., the consolidated duo) can become “trapped” within a predetermined space, especially at the psychological level, while the “unknown” (the occasional duo) seems to be less involved and therefore more reassuring and exciting in positive terms. In addition, the preference of the expert audience is for the consolidated duo.
O presente estudo de caso debruça-se sobre as respostas psicológicas (ansiedade) e fisiológicas (stress) em músicos, comparando um duo de violino e piano consolidado e um recém-formado em momentos de performance. O elemento comum entre estes duos foi a pianista. Utilizando os testes psicológicos (STAI Y1 e Y2, K-MPAI, MMPI-2, ICAC), o protocolo Hight Sensivity Salivary Cortisol Enzyme Immunoassay kit da Salimetrics® para medir o cortisol (hormona do stress) e o dispositivo não invasivo VitalJacket® (para medir o batimento cardíaco) desenvolvido na Universidade de Aveiro, Portugal, os participantes foram monitorados em várias condições de desempenho. Outro conjunto de dados quantitativos e qualitativos foram coletados, incluindo o diário pessoal da pianista (analisado pelo psiquiatra), entrevistas semi-estruturadas com membros de duos de música de câmara de longo prazo e avaliação da percepção (teste auditivo) das performances realizada com ouvintes especialistas. As variáveis incluíram duas salas de concertos (sala duma universidade europeia e outra duma escola de ensino secundário), bem como repertório bem conhecido, repertório recentemente conhecido e peças nunca ensaiadas antes dos recitais. Estas últimas peças foram fornecidas aproximadamente uma semana antes de cada concerto. O conjunto dos dados psicológicos e fisiológicos foram coletados para um total de oito recitais - duas séries de quatro recitais cada. Os resultados, inesperados, mostram que os níveis de ansiedade de estado e de stress da pianista, que não apresenta um perfil de pessoa ansiosa nem em termos sociais nem em termos musicais, são sempre mais elevados quando toca com o parceiro conhecido. Possíveis explicações podem ser às expectativas mais elevadas em relação a qualidade da performance e as implicações dos neurónios a espelho (uma vez que as reações são muito diferentes conforme ao parceiro). Ou seja, um “espaço conhecido” (o duo consolidado) pode ficar “preso” dentro espaços preestabelecidos, sobretudo a nível psicológico, em quanto o “desconhecido” (o duo ocasional) parece ser menos envolvido e portanto mais tranquilizante e emocionante em termos positivos. Para além disso, a preferência de qualificados músicos ouvintes, foi para o duo consolidado.
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Peeva, Adela Nikolova. "The Bulgarian Folklore Influence in Selected Works for Solo-Piano and Violin-Piano Duo of Pancho Vladigerov." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/101.
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The main goal of this paper is to discuss the tradition of Bulgarian folk music based on three significant folk-inflected compositions by Pancho Vladigerov, and thereby to contribute to the literature on Vladigerov's compositional style and influences. For this purpose, I have chosen three of his most popular and frequently performed compositions which are also representative of the stylistic trends in his music. They are: Bulgarian Rhapsody (op.16, 1922) for Violin and Piano, Song from Bulgarian Suite (op.21, 1927) for Violin and Piano and Shumen Miniatures (op. 29, 1934) for Solo Piano.
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Roussou, Evgenia Neophytou. "Exploring the piano accompanist in western duo music ensembles : towards a conceptual framework of professional piano accompaniment practice." Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16564.
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This thesis explores the phenomenon of the piano accompanist in Western art duo chamber ensembles, specifically the solo–accompaniment medium. Following a critical examination of relevant literature by practitioners and researchers where changing socio-cultural attitudes towards accompanists are discussed along with related issues about accompaniment and ensemble playing more broadly, two empirical studies are reported. These enquiries aim to investigate the expectations of contemporary professional soloists and pianists about accompanists as well as to explore the skills and roles exhibited by pianists working in the solo–accompaniment duo context, which have yet to be systematically evaluated. Both studies adopt qualitative methodology with interpretative phenomenological analysis, the first comprising interviews with twenty professional musicians, the second involving case study observation of rehearsals and performances using video recalls with three accompanists and three soloists working in different combinations. The data provided insight into the range of musical and other expectations articulated by professional musicians about piano accompanists as well as the nature of the skills and roles involved in achieving ensemble, interpreting soloists’ intentions, dealing with unexpected incidents, achieving balance and communicating with soloists. A novel conceptual framework about accompaniment practice is constructed based upon the data from the two studies as well as the relevant literature which articulates musico-functional and socio-emotional aspects of accompaniment practice.
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Whipple, William Perry III. "The legacy of duo-pianists Bill and Pat Medley." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1514.
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The purpose of this D.M.A. Essay is to highlight the legacy of duo-pianists, Bill and Pat Medley. To that end, this essay will explore: (a) the early biographical information of the Medleys (developing their musical talents in the Depression and World War II Era), (b) the Medleys' concert touring career, including a section on the logistics of travelling with their own concert grand pianos across the United States and Canada, (c) the Medleys' teaching career which included both secondary and pre-college levels, (d) a collection of comical stories learned through personal interviews with the Medleys that speak to their many years of concertizing, and (e) the Medleys' composing and arranging career, which includes a detailed overview of The Medley Way method book series published by The Hal Leonard Corporation and a detailed review and analysis of twenty-two of their educational solos, which were published by the Alfred Music Company, The FJH Music Company, and The Willis Music Company.
Bill Medley stated, "As I look back on our lives and the past sixty years, I see two teenagers striking out on a journey that would take them to unfathomable destinations. It would not be done alone, by any means, but with the help of many, many people..."
It is my hope that this essay will shed light on a career that has endured sixty plus years and counting. The Medleys' touring career allowed small town communities to experience the art of classical music, who otherwise would not have experienced such beauty. The Medleys' teaching career passed along a musical lineage from their teachers, including Pierre Luboshutz and Genia Nemenoff, along with a composing and arranging career that continues to serve as a pedagogical essence of quality to this day.
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Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.
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La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violonA great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin
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Kim, Junghyun. "Isang Yun's Duo for Viola and Piano (1976): A Synthesis of Eastern Music Concepts With Western Music Techniques." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193670.
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Isang Yun is one of the most significant figures in Korean music of the twentieth century. He moved beyond serialism, founding his musical resources in Korean traditional music as well as in Taoism. Yun created unique sound which has resemblance to Korean traditional music particularly in ornaments through Western instrumentation and musical techniques. Consequently, Yun invented his own main tone technique, and its distinctive Koran sound separated him from other important avant-garde composers of the twentieth century. In this thesis Yun's life is introduced as a strong influence on his compositional styles. Also, his compositional styles are placed within the larger context of twentieth century musical trends, which shows why his works are important in twentieth century music history. Most importantly, it demonstrates that the idiosyncratic style of Isang Yun's Duo for Viola and Piano results from a blending of Eastern and Western musical elements. For this reason, in this document I will analyze and examine the Duo for Viola and Piano, and explain how Yun translated Eastern musical concepts into Western musical techniques.
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Ferreira, Salatiel Costa. "Cláudio Santoro e o clarinete: três estudos, duo e fantasia." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13196.
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Mestrado em MúsicaEste trabalho é um estudo analítico e interpretativo nas obras para clarinete solo e clarinete e piano de Cláudio Santoro, tem como objetivo contribuir para um melhor conhecimento do repertório para clarinete feito no Brasil nas obras deste compositor, conhecendo o seu contexto de criação (quando foram compostas, a quem foram dedicadas, quem as estreou, entre outras), avaliando assim, o seu enquadramento estético, o seu lugar no repertório de clarinete e no quadro da produção do compositor. Fazendo um apanhado histórico, procurou-se esquematizar e compreender o percurso estilístico do compositor, utilizando como principais referências teóricas os trabalhos Mariz (1994), Mendes (2009), Neves (1981), Oliveira (2007), Fraga (2008) e Souza (2003). Como principal metodologia de análise utiliza-se Oliveira – a representação das notas por números inteiros, a classificação das alturas e intervalos em classes se mostram mais adequadas a pesquisa. Foram analisadas três obras do compositor: Três Estudos para clarinete solo de 1942, Duo para clarinete e piano de 1976 e a Fantasia Sul América para clarinete solo de 1983 (análise destas obras teve como principal motivação à sua performance). Nas considerações finais sobre Cláudio Santoro e sua obra para clarinete solo e clarinete e piano, verificou-se aspectos da música serial empregados por ele, e que apesar de distintas, estas obras possuem uma relação entre si.
This work is an analytical and interpretative study the works for solo clarinet and clarinet and piano by Cláudio Santoro, aims to contribute to a better knowledge of the repertoire for clarinet made in Brazil in the works of this composer, knowing its context of creation (when they were composed, who were devoted, whom debuted, among others), thus assessing, its aesthetic framework, its place in the repertoire for clarinet and in production of the composer. Making a historical overview, we tried to lay out and understand the stylistic path of the composer, using as the main theoretical references by works of Mariz (1994), Mendes (2009), Neves (1981), Oliveira (2007), Fraga (2008) and Souza (2003). As the main analysis methodology is used Oliveira - the representation of integers by notes, the classification of heights and intervals in classes are more appropriate research. Three works by the composer were analyzed: Three Studies for solo clarinet, 1942, Duo for clarinet and piano of 1976 and the Fantasy South America to solo clarinet 1983 (analysis of these works was the main motivation for performance). In the final considerations about Claudio Santoro and his work for solo clarinet and clarinet and piano, it was found aspects of serial music employed by him, and that while distinct, these works have a relationship with each other.
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Lopez, Matthew Santos. "Aaron Copland's Use of Flute in His Late Style| The Case of Duo for Flute and Piano and Threnodies I and II." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13426828.
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Aaron Copland is one of the best-known composers from the United States and is often credited with creating a distinctly American style. As a 20th Century composer, he departed from traditional classical compositional techniques and made some contrasting choices of medium when considering ensemble. Copland is recognized for his writings for Orchestra, Film, Theatre, and Ballet, but also wrote chamber works that are both thoughtful and creative. The majority of his chamber works consist of pieces written for piano and voice, however he also used strings, clarinet, and in his later works, flute.
His last decade of works including one piece for orchestra, three piano pieces, and three chamber works that are flute centric. Duo for Flute and Piano and Threnodies I and II for Flute (Alto Flute) and String Trio were written within the span of three years, and are all written as memorials for others. The commonality a of flute in these pieces and in such close compositional proximity is an oddity when you consider his instrumental tendencies. This paper will examine Copland’s compositional choices for Duo and Threnodies I and II and will consider the connection between writing memorials for others and his own mortality as influencing this late style.
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Chen, Wei-Sian. "HARVEST FESTIVAL BY YANN-JONG HWANG: A PIANO DUET INSPIRED BY TAIWANESE FOLK TUNES." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/86.
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The purpose of this study is to provide an introduction and analysis of Harvest Festival, a work for piano four hands by Taiwanese composer Yann-Jong Hwang. This work incorporates elements of traditional Taiwanese music that is largely unfamiliar to performers and listeners beyond the border of Taiwan.
With the exception of Professor Hwang’s own journal article on this piece, this project is the only study of Harvest Festival available in the United States or Taiwan. This research will be meaningful to both performers and piano teachers as an encouragement to include Yann-Jong Hwang’s work within their concert repertory.
This document examines the background of Yann-Jong Hwang; briefly introduces Taiwan, the Amis tribe, and the Harvest Festival event; provides a structural analysis of all four sections of Harvest Festival; and concludes with an appendix consisting of a complete score of Harvest Festival.
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Schindler, Angela N. "Unique Contributions for Oboe in the Classical Period: Jacques Christian Michel Widerkehr's Duos for Oboe and Piano and François Devienne's Six Sonatas for Oboe and Basso Continuo." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5435/.
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Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements.
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Santos, Bruno Soares. "Duos para vibrafone e piano: estudo interpretativo das peças Sonata para Vibrafone e Piano de Almeida Prado e Domus Aurea de Edmund Campion." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/AAGS-8BYGJH.
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The performance techniques of percussion instruments, particularly mallet instruments, have been developing continuously in recent decades. Works and techniques considered difficult to perform, thirty or forty years ago, are now part of the percussionists regular repertoire. In this sense, it is clear that a tradition of notation for these instruments is still a developing process. This research seeks, through the performance and analysis of two works, to enrich the discussion about technique and notation for mallet percussion, specifically the vibraphone. We chose to analyze two duos for vibraphone and piano: Sonata for Piano and Vibraphone by Almeida Prado and Domus Aurea by Edmund Campion. The analysis of these two works offered us a great material for research because they have different types of notation and distinct compositional languages. Thus, they present different challenges for interpretation. The reflection on their performance contributed to the identification of characteristic factors of the vibraphones technique, notation and performance.As técnicas de performance dos instrumentos de percussão, sobretudo dos teclados, têm se desenvolvido continuamente nas últimas décadas. Obras e técnicas consideradas de difícil execução trinta ou quarenta anos atrás, hoje fazem parte do repertório habitual dos percussionistas. Neste sentido, é possível afirmar que uma tradição de escrita para estes instrumentos é ainda um processo em desenvolvimento. Esta pesquisa busca, através da performance e análise de duas obras, enriquecer a discussão sobre técnica e escrita para os teclados de percussão, mais especificamente o vibrafone. Escolhemos analisar dois duos para vibrafone e piano: Sonata para Vibrafone e Piano de Almeida Prado e Domus Aurea de Edmund Campion. A análise destas duas obras nos ofereceu um ótimo material para a pesquisa pois elas possuem tipos de escrita diferentes e linguagens composicionais distintas. Desta forma, elas apresentam desafios diferentes para a interpretação. A reflexão sobre suas performances contribuiu para o reconhecimento de fatores característicos da técnica, escrita e performance do vibrafone.
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Lai, Yim-ngor Janet. "The narrative art in Mao Dun's short stories Mao Dun duan pian xiao shuo xu shi yan jiu /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?
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Goodman, Elaine Claire. "Analysing the ensemble in music rehearsal and performance : the nature and effects of interaction in cello-piano duos." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344009.
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Fiocchi, Alice. "Inserimento di controventi dissipativi in acciaio in un capannone in calcestruzzo armato prefabbricato a due piani." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016.
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In questa tesi si propone il miglioramento sismico di un capannone in calcestruzzo armato prefabbricato a due piani a pilastri isostatici mediante l'inserimento di controventi dissipativi in acciaio con forma speciale (Crescent-Shaped-Braces).
PREMESSA
In primo luogo si dimostra come la struttura studiata soddisfi già i requisiti del DM 2008, sia allo SLD (spostamenti d’ interpiano) che allo SLV (elementi strutturali verificati).
OBIETTIVO
Migliorare le caratteristiche prestazionali di un edificio in calcestruzzo armato prefabbricato a due piani, sottoposto ad azione sismica.
STRATEGIA
Inserimento di dispositivi dissipativi di tipo Crescent Shaped Brace in alcune specchiature del capannone prefabbricato, in entrambe le direzioni.
PROGETTAZIONE DELLA STRUTTURA RINFORZATA
1) Identificazione delle caratteristiche (rigidezza e resistenza) dei dispositivi CSB, sulla base di obiettivi scalati al livello superiore (deformabilità allo SLV e resistenza allo SLC) per il sistema «struttura + dispositivi», attraverso lo sviluppo di una procedura specifica per capannoni prefabbricati a 2 piani.
2) Progettazione dei dispositivi CSB (scelta della geometria e della sezione)
3) Verifica delle effettive prestazioni ottenute mediante simulazioni numeriche time-history
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Antonelli, Claudia. "Molteplicità di intersezione e Teorema di Bézout per curve algebriche piane." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18433/.
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Scopo principale di questa tesi è dare la definizione di molteplicità di intersezione di due curve in un punto e la dimostrazione del teorema di Bézout, mostrando che nel caso di due curve C e D con componenti comuni, non è sufficiente attribuire numeri di intersezione alle sole componenti irriducibili di CᴖD per ottenere un teorema di tipo Bézout, ma occorre anche tener conto di alcuni punti (componenti immerse). In questa tesi la molteplicità di intersezione di due curve in un punto viene definita attraverso la teoria dei risultantie e si prova che è indipendente dalla scelta del sistema di coordinate. La molteplicità di intersezione può essere anche definita in modo assiomatico e coincide con quella definita mediante il risultante nel caso di curve algebriche prive di componenti comuni. Nel quarto capitolo si presentano alcune conseguenze del teorema di Bézout sulla dimensione dei sistemi lineari di curve proiettive piane, sul numero dei punti singolari e dei punti di flesso di una curva irriducibile.
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Schindler, Angela N. "Unique contributions for oboe in the classical period Jacques Christian Michel Widerkehr's Duos for oboe and piano and François Devienne's Six sonatas for oboe and basso continuo /." connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/schindler_angela/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 3, 2000, Nov. 13, 2000, Mar. 11, 2002, and Sept. 25, 2006. Includes bibliographical references (p. 50-51).
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Ciriello, Valentina. "Studio del comportamento idraulico dell'asta medio-valliva del Po ai fini della gestione delle risorse idriche." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amslaurea.unibo.it/167/.
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La gestione delle risorse idriche è una questione fondamentale da affrontare alla luce di problemi sempre più attuali quali la scarsità della risorsa in determinati periodi dell’anno e la tutela dei corpi idrici rispetto ad approvvigionamenti che ne possano intaccare il naturale equilibrio. In effetti, gli ultimi anni sono stati caratterizzati da episodi di magra piuttosto rilevanti e con pochi paragoni nell’intero novecento...
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Xie, Shuxiang. "Dao jin zi ta shi xin wen bao dao de yu pian gui lü : yi Xianggang "Ming bao" she hui xin wen wei yu liao de tan tao = Discourse principles in inverted pyramid news reporting : study of the social news of Ming Pao /." click here to view the abstract and table of contents, 2001. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17041193a.pdf.
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Biagi, Beatrice. "Dinamica delle galassie a spirale e delle galassie ellittiche." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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Lo scopo di questo elaborato è presentare una trattazione generale della dinamica delle galassie, evidenziando le differenze tra le galassie ellittiche e quelle a spirale. Nel capitolo 1 viene fornita una breve caratterizzazione delle galassie, basata sui valori tipici delle grandezze fisiche che le descrivono, successivamente vengono presentate le principali proprietà morfologiche e fotometriche che hanno permesso di classificarle in pochi tipi distinti. Nel capitolo 2 viene introdotto il concetto di tempo di rilassamento a due corpi, come criterio per stabilire la condizione di non collisionalità delle galassie e in seguito viene fornito lo strumento matematico fondamentale per una descrizione completa della dinamica delle galassie: la funzione di distribuzione. Questa obbedisce alla fondamentale equazione di Boltzmann non collisionale (CBE), dalla quale si possono dimostrare le equazioni di Jeans e il teorema del viriale. Infine, nel capitolo 3, vengono proposte le principali applicazioni dei risultati precedenti: la massa e lo schiacciamento delle galassie ellittiche e il loro piano fondamentale, la curva di rotazione delle galassie a spirale e la dinamica dei bracci.
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Hui-Yu, Lo, and 羅惠予. "An Analysis and Interpretation of Aaron Copland’s “Duo for Flute and Piano”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/37037648728001827629.
Full textAbstract:
碩士臺北市立大學
音樂學系教學碩士學位班
102
Aaron Copland (1900-1990) was a renowned composer, conductor, educator and music critic in the 20th century of the United States. Copland receives a significant status in the American music history because he worked through his life on expressing and practicing the American music style and his contribution was considered major in promoting the American music onto the world stage. Copland was eager to learn and combine different ideas, leading to his ample and unpredictable music style. One of Copland’s late works, “Duo for Flute and Piano” in 1971, was written for William Kincaid (1895-1967), in memory of the greatest flutist of the generation in the United States. The music style of this piece is based on the composing methodology in the early 1940s, and the music structure is simple with delicate melody and mixed with Jazz, American folk songs and Indian music elements. As a result, this composition successfully expresses the strong American music style. There are four chapters discussed in this thesis. The first chapter discusses about the development of American music style in the early 20th century and the life milestones of Aaron Copland and his music styles in different timeframes. The second chapter, based on other research papers, information and expert comments, studies the composition purpose and music background of “Duo for Flute and Piano”, and also talks about the life of William Kincaid, the history and development of American Flute School and lastly, the relationship between Kincaid and the School. The third chapter analyzes the composing methodology in every segment and movement of the music, particularly studying the fusion of Jazz, American Folk Songs and Indian music elements. Last but not least, the fourth chapter combines the composition background, music analysis, music interpretation and recommended practicing methodologies with the comparison of performance recordings between the American flutist, Paula Robison, and the British flutist, Jennifer Stinton. Such combination of ideas will help enhance the interpretation of music in practice and performance in the future.
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曾斯亭. "The American Musical Elements in Duo for Flute and Piano by Aaron Copland." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/50536726622991680046.
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碩士國立臺南藝術大學
鋼琴伴奏合作藝術研究所
96
American composer Aaron Copland (1900 - 1990) was a famous and important musician in the twentieth - century. He determined to find the ‘American tone’ and initiates a whole new road for American contemporary music. Copland composed the Duo for Flute and Piano between 1969 and 1971, and got it premiered in the same year. As one of Copland’s last compositions, this work is a vigorous, colorful work which represents a culmination of his earlier styles and folk music elements. This paper firstly introduces Copland’s life and basic styles in his compositions. In the second chapter, the author wishes to analyze how Copland applied the major elements and characteristics of melodies, rhythm (syncopation, off-beat), blue notes, instrumentation, Indian traditional music skill…etc. in American folk songs, Jazz and Indian music so to present the “American music”. In addition, the paper enclosed the bibliography and Copland’s work-list.
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HUNG, HUI-LIANG, and 洪惠亮. "The Interpretation and Analysis of Duo for Flute and Piano by Aaron Copland." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7ay54e.
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碩士國立臺北藝術大學
音樂學系碩士在職專班
105
Aaron Copland (1900-1990) was one of the famous American musicians of the twentieth century. He was not only a composer but an educator, a conductor and music commentator as well. Copland dedicated his whole life to promoting nationalistic music and played a decisive role in the development and contribution of American music. “Duo for Flute and Piano”, composed by Copland, was commissioned by John Solum (1935- ) to commemorate contemporary American flute master William Kincaid (1895-1967) and is discussed in this paper. This study is divided into five chapters. The introduction explains the background and purpose of the research, including the scope and methodology of this study. The second chapter is the life of Copland and his musical style. The third chapter summarizes the biography and performance style of flute master William Kincaid and the history of the French and American Flute Schools, along with the relationship between him and these two schools. The fourth chapter analyzes the elements of American folk music and Copland’s composition Duo for Flute and Piano, which is illustrated with examples to show the skills and preferences of Aaron Copland. The last chapter is the conclusion, focusing on the flute performing skills in Duo for Flute and Piano. Recommendations are also provided for practicing as well as playing, with the hope that it can be helpful in music performances.
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Chen, Yun-Ju, and 陳韵茹. "An Analysis and Interpretation of “Duo for Flute and Piano” by Lu Yen." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/8jn37r.
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碩士國立臺北藝術大學
管絃與擊樂研究所碩士班
100
In order to explore the creation of Taiwanese composer for the flute profiles, I started to collect data, summarize the whole export of the flute repertoire from 60 years to now. In addition, the author has been learned music and flute playing for fifteen years, the repertoire has learned across the Baroque period to the Modern School of Music Western works. However, the Taiwanese works are not so familiar to me. As the Taiwanese, I should understand my local works more in-depth. In view of this, stimulate the interest of the author for the Taiwanese composer and music creation, and then explore and understand the works of this field in Taiwan. In this dissertation, the author has selected an important composer - Lu Yen as a model to explore; and its creation of the 1980s - flute and piano duo, as the central analysis to explore his musical language and describe my personal interpretation of performance.First chapter starting from Taiwanese music development environment, and then summed up the flute works on behalf of the Taiwanese composer; the second chapter is written in three directions- the entire life of Lu Yen, his creative background and characteristics and his creative stage. Chapter three in-depth studied and classified the music background, structural analysis, the actual performance interpretation and technique of Lu Yen “Duo for Flute and Piano”.
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Lai, Yu-ling, and 賴禹伶. "Aaron Copland’s Duo for Flute and Piano: A Research and Interpretation / Yu-Ling Lai Flute Recital." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/76310837511419766905.
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碩士東吳大學
音樂學系
95
Aaron Copland(1900~1990)is a well-known American composer, conductor, educator and musical criticism in twentieth century. He devoted his whole life to develop American music, and his music work of “Americanism” still influenced deeply and extensively from the time to present. In the trends of the times background and the courage to try various skills in composing, the creative style of Copland is highly changeable. Moreover, the most abundant period of creation is in the thirties and forties, and the main of that is simple music lexicon. This kind of work has simple structure and tuneful melody, and is widely loved by the public. The inquiring work at this thesis “Duo for Flute and Piano, 1971” is in the evening work, but it accomplishes by the most popular music style in the forties. This thesis is inquired by four parts. In the first part, it discusses Copland’s life story and his creative style of music in each period. In the second part, it discusses creative background of “Duo for Flute and Piano” by the collection and commentary of literature documents. In the third part, it analyzes the creative skills of musical composition from the rational angle. In the final part, it integrates creative background and melody analysis, and furthermore provides the method of melody annotation and propositional practice, and anticipates that it can have more substantial helps in musical performance. 「Yu-Ling Lai Flute Recital Program」 W. A. Mozart: Sonata in C major for Flute and Piano, K. 14 Sigfrid Karg-Elert: Sinfonische Kanzone für Flöte und Klavier André Jolivet: Chant de Linos pour Flûte et Piano Jean-Michel Damase: Sonate en Concert pour Flûte et Piano Astor Piazzolla: Invierno Porteno for Flute and Piano Gary Schocker: Three Dances for Two Flutes and Piano
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Mo, Shu-Han, and 莫書涵. "The Analysis and Performance Interpretation of the Duo concertant for violin and piano by Igor Stravinsky." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/93987081168251190347.
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"Broadening the Repertoire for Guitar and Piano: An Arrangement of Bachianas Brasileiras No. 1 by Heitor Villa-Lobos." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.40780.
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abstract: The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.Dissertation/Thesis
Doctoral Dissertation Music 2016
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Beavers, Jennifer Putt. "Ravel in a new key : harmony in the chamber works, 1914-1927." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2407.
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This dissertation analyzes the first movements of three chamber works -- the Piano trio (1914), the Duo for violin and cello (1920-22), and the Sonata for violin and piano (1923-27) -- and situates their harmonic procedures in relation to important developments within Parisian musical culture. Chapter 1 explores Ravel's early harmonic style, in particular, how he blends nontonal harmonic procedures and tonality within the framework of the sonata as seen in the first movements of his String quartet and Sonatine. Chapter 2 analyzes the Piano trio, which culminates the early phase of Ravel's career with a sophisticated amalgamation of pre-war musical trends, such as extended harmonies and formal inventiveness, with an early wartime emphasis on reduced textures and melodic primacy. In the post-war years, Ravel was forced to adjust to a new role, in which he was no longer at the forefront of musical developments, but rather the follower of a group of young, avant-garde composers. His two post-war compositions, the Duo for violin and cello and the Violin sonata, articulate the struggles he faced with composition in the 1920s. Criticized for having an out-moded aesthetic, he modified his compositional style by incorporating and adapting new harmonic techniques. Drawing on Peter Kaminsky's theory of monotonality and dual pitch organization, chapter 3 examines Ravel's harmonic language in the Duo through linear analysis. Ravel's attempt to incorporate contemporary harmonic procedures however was not sufficient to compete with the more progressive works of Les Six or Stravinsky's burgeoning neoclassicism. As a result, Ravel re-evaluated his craft by rethinking his engagements with the musical avant-garde. The analysis of the Violin sonata in chapter 4 reveals that harmonically, deeper levels of dissonance require pitch prioritization intimately bound to formal function. Unlike the Duo, Ravel presents a more innovative formal design in the Violin sonata, where boundaries are blurred and formal functions are juxtaposed. Chapter 5 concludes with a comparative analysis of the first movements of Ravel's Piano trio, Duo and Violin sonata and their evolving harmonic practices.text
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"Rapsodia Camaleónica: A Concerto for Piano, Trumpet and Orchestra." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14797.
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abstract: This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.Dissertation/Thesis
D.M.A. Music 2012
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Chan, Szu-Yu, and 詹思瑜. "Aaron Copland’s “Duo” for Flute and Piano –Through William Kincaid and the Relationship with the French and American Flute Schools." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/01743532317779230414.
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碩士實踐大學
音樂學系碩士班
98
Aaron Copland(1900~1990)is a well-known American composer,educator and musical criticism in twentieth century. His composition,"Duo for Flute and Piano",which is comissioned to dedicate to William Kincaid(1895-1967)'The Father of American Flute School'. In this piece, Copland adopts elements of Indian and Jazz music,expresses the richness of American music. This thesis is inquired by two parts. In the first part,through creative background and critics of Copland's Duo for Flute and Piano, it discusses Kincaid life story,performing style,the history of the French and American Flute Schools,and the relationship between himself and these two sects. In the second part,it discusses Copland's new skills and the affection of Nadia Boulanger(1887-1979) by collection and commentary of literature documents. Besides,it analyzes the elements of American folk music and Copland's early compositions in Duo for Flute and Piano,illustrates with scores to let us know the skills and preference of Aaron Copland as well. Finally,it finds the flute perfoming skills in Duo for Flute and Piano, and furthermore provides the recommand for practicing as well as playing, and anticipates that it can be helpful in music performing.
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Hu, Tzu-Han, and 胡子涵. "TZU-HAN HU OBOE RECITAL WITH A SUPPORTING PAPER THE ANALYSIS AND INTERPRETATION OF DORÁTI’S DUO CONCERTANTE FOR OBOE AND PIANO." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/f42ba8.
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碩士國立交通大學
音樂研究所
104
Antal Doráti ( 1906-1988 ) is an outstanding Hungary conductor and composer in the 20th century. As born in a musical family, he followed Zoltán Kodály (1882-1967 ) and Béla Bartók (1881-1945 ) when he was young. Being trained strictly by traditional musical education, he brought hungarian traditional skill of folk songs into his compositions. As a conductor, Doráti toured over the world in his life, and cooperated with many notable orchestras. He brought those experiences into his compositions, using the characteristic of different instruments at large, so as his composing skill and compositions get a highly praise by others. Duo Concertante for Oboe and Piano was composed in 1983. Around the New Music in the 20th century, Doráti did the exactly opposite way. He used the features of Hungary dance music in 17th century, which called “verbunkos”, and assimilated the characteristic of traditional folk song into modern musical articulation.
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CHENG, YUNG-HSIN, and 鄭詠心. "The Analysis and Interpretation of《Grand Duo Concertant in E flat major For Clarinet and Piano》by Carl Maria von Weber." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/vetxx3.
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碩士國立臺北教育大學
音樂學系碩士班
105
Carl Maria von Weber (1786-1826) was a representative German Romantic composer and pianist in the Nineteenth century. Several pieces of famous clarinet works were written by him, and among his works, Grand Duo Concertant for Clarinet and Piano, op.48 was written in 1817 for Johann Simon Hermstedt (1778-1846), who was a famous clarinetist in that time. The duet for clarinet and piano were used to compose this work; it is not only the conversation between two instruments, but also used virtuoso as well. This thesis presents the study of composition in three parts: The first part presents the biographical information of Weber and Hermstedt, and the background of Grand Duo Concertant for Clarinet and Piano, op.48. The second part provides the analysis of this piece in terms of the structure, motives, tonality and harmony. Finally, use the conclusion of the second part and recording of Paul Meyer and Emma Johnson to suggest the interpretation for this composition. This study expects to offer some perspectives for people who are interested to understand the music style and playing techniques while performing it.
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Teng, Kai-Hung, and 鄧凱鴻. "The Analysis and Performance Interpretation of Franz Schubert’s Duo Sonata for Violin and Piano, in A major, Opus 162, D.574." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/2t3h6k.
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Chien, Li-Ya, and 簡立亞. "LI-YA CHIEN CLARINET RECITAL WITH A SUPPORTING PAPER ANALYSIS AND INTERPRETATION ON WEBER’S GRAND DUO CONCERTANT FOR CLARINET AND PIANO, OP. 48." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/4gam6k.
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碩士國立交通大學
音樂研究所
103
This thesis starts form Weber’s background, further analyzing the score we could use nowadays, including the motives, tonality, harmonic and forms of three movement, and using these results to probe the way how should we perform Grand duo Concertant for Clarinet and Piano, op. 48 and be closed to the primeval of Weber’s. In the same time this thesis can also propose a rational way to know and perform this piece.
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CHANG, CHIA-YUAN, and 張嘉媛. "The Analysis and Interpretation of Grand Duo Concertant in E flat major for Clarinet and Piano, Op.48 by Carl Maria von Weber." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/00904401472364643905.
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Xue, Jing. "Travelling with Tan Dun’s music: The Banquet Concerto for piano, chorus and orchestra." Doctoral thesis, 2020. http://hdl.handle.net/10773/28465.
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With the development of global cultural exchange, a large number of Chinese music works are approaching the international and global world, while also paying more attention to local cultural exchange. The Banquet Concert is one of these works, created by Chinese composer Tan Dun. During the process of research on the Banquet Concert, a number of issues emerged that deserve to be investigated. The Banquet Concert was developed from the soundtrack of a Chinese film based on the context of ancient China. So this creation was, on the one hand, influenced by the range of classical Chinese cultures, including history, ancient poems and martial arts actions, on the other hand, supported by the presentation of an old oriental history in the new form of western music. Tan Dun transformed this soundtrack into the form of a Piano Concert and had been performing around the world from 2011. At the time of the Concert performance, the audience enjoyed western symphonic music along with footage from the classic Chinese film, experiencing a perfect combination of traditional Chinese culture and western classical music. Based on these characteristics, several issues arise to be resolved, including the cultural exchange between eastern and western culture, the relationship between music and image, the interaction between performance and body movement, and so on.
This dissertation begins with theoretical research that contains several aspects. The first is to discover the theoretical framework of the concept of travel. The second theoretical orientation is linked to the relationship between music and image, which focuses mainly on the relationship between film and music. In addition, theoretical research is done on the relationship between piano performance and body movement. The second chapter of this dissertation focuses on the context of composer Tan Dun and his compositions. Through the study of Tan Dun's life and academic background, I intend to testify to the meaning of traveller in the composer's creative thinking. At the same time, I also want to draw on the diversity of his works to examine the characteristics of travelling across various cultures, disciplines and other elements. In chapter three, I intend to explore the intercultural and interdisciplinary performance in the development of the work under study. The fourth chapter is the specific analysis of the relationship between music and image, music and movement, demonstrating the multifaceted problems combined with the examples. Finally, a conclusion is drawn to answer the questions initially raised.
I hope this dissertation will draw practical guidance for the analysis of various specific aspects of the Banquet Concert and can be instructive for future research into this genre of music.Com o desenvolvimento do intercâmbio cultural global, um grande número de obras de música chinesa está a aproximar-se do mundo internacional e global, ao mesmo tempo, prestar também mais atenção no intercâmbio cultural local. O Concerto Banquete é uma destas obras, criada pelo compositor chinês Tan Dun. Durante o processo da pesquisa sobre o Concerto Banquete, surgiu uma série de problemáticas que merece a ser investigada. O Concerto banquete foi desenvolvido a partir da banda sonora de um filme chinês baseado no contexto da China antiga. De modo que esta criação foi, por um lado, influenciada pela série de culturas clássicas chinesas, incluindo história, poemas antigos e ações de artes marciais, por outro lado, sustentado pela apresentação duma velha história oriental na nova forma de música ocidental. Tan Dun transformou essa banda sonora em forma de Concerto para Piano e tinha feito execução pelo mundo a partir de 2011. No momento de performance do Concerto, o público apreciou a música sinfónica ocidental juntamente com as imagens dos excertos do filme clássico chinês, experienciando uma combinação perfeita entre a cultura tradicional chinesa e a música clássica ocidental. Com base nestas características, surgem várias questões a serem resolvidas, incluindo o intercâmbio cultural entre a cultura oriental e ocidental, a relação entre música e imagem, a interação entre desempenho e movimento corporal e assim por diante. Esta dissertação começa com a pesquisa teórica que contêm vários aspetos. O primeiro é descobrir o enquadramento teórico do conceito de viajar. A segunda orientação teórica está ligada à relação entre música e imagem que, focaliza sobretudo a relação entre filme e música. Além disso, é feito a pesquisa teórica sobre a relação entre piano performance e movimento corporal. O segundo capítulo desta dissertação centre-se no contexto do compositor Tan Dun e as suas composições. Através do estudo sobre a vida e a formação académica de Tan Dun, pretendo testemunhar o significado de viajante no pensamento criativo do compositor. Ao mesmo tempo, também pretendo basear na diversidade das suas obras para examinar as características de viajar através de várias culturas, disciplinas e outros elementos. No capítulo três, pretendo explorar o desempenho intercultural e interdisciplinar no desenvolvimento da obra em estudo. O quarto capítulo é a análise específica sobre a relação entre música e imagem, música e movimento, demonstrando os problemas multifacetados combinando com os exemplos. Por fim, uma conclusão é elaborada com objetivo de responder as questões inicialmente levantadas. Espero que esta dissertação desenhe orientações práticas para a análise de vários aspetos específicos do Concerto Banquete e possa ser instrutivo para futuras pesquisas sobre este género de música.
Programa Doutoral em Música
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CHIEN, CHIH-KUAN, and 簡誌寬. "Zhang Zai's Concept of Tian Dao - -Centering on “San Liang Pian” in Zheng Meng." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/kca56k.
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碩士國立臺北大學
中國文學系
107
Zheng Meng ”San Liang Pian” is a chapter in Zhang Zai’s interpretation of atmospheric and astronomical phenomena. Some theories included in this chapter have existed long before the Northern Song Dynasty, and it also included some Zhang Zai’s original ideas. However, the purpose of Zhang Zai was not to establish a system of astronomical knowledge, but to interpret the Confucian concept of Tian Dao through his observation of celestial movement. There are several interpretations of Zhang Zai's philosophy in the academia, such as Mou Zongsan's " Theory of Separation of Shen and Qi ", Tang Junyi's " Theory of Identity of Xu and Qi", Chen Lai's " Theory of Qi", Lin Lechang's "two-layer structure of cosmology" "...and so on. Through the objective review of astrology and the subjective interpretation of ”San Liang Pian”, this paper further explains the subtleties of these concepts meanwhile covering its shortages. This paper divides the first half of the ”San Liang Pian” into seven paragraphs. The first paragraph is about the interpretation of Shuo Gua "Heaven is there and earth is two". The second paragraph is about the description of the phenomenon of the seven retrograde planets and the celestial sphere. This statement is based on the expression of "Yin Qi go right, and Yang Qi go left". The third paragraph discusses the reasons behind the seven retrograde planets against the celestial sphere, then, the celestial model of "the sky does not move" is introduced. In the fourth paragraph, the phenomenon of "the height of the sun changes with the season" is interpreted on the basis of "the ground has a lift". The fifth paragraph explains the phenomenon between the sun and the moon, using the relationship between "yin and yang" and "quality". The sixth paragraph point up that the points out the focus of the article: Principle of Xing-Ming, which hides behind the yin-yang movement. Paragraph seven criticizes the Fu-Tian Calender influenced by Buddhism. This paper first commented on how Chinese astronomers’ in ”San Liang Pian” explained the astronomical phenomena, and then proposed its explanation of ”San Liang Pian” in an analytical fashion. This explores the Tian Dao concept deep buried in astronomy, thereby constructing a cosmology that belongs to Zhang Zai, providing its own perspective on Zhang Zai’s philosophy. Although the ”San Liang Pian” is not a monograph of astronomy, it interprets astronomical phenomena does have an impact on the history of science and technology in later generations. Therefore, while discussing Zhang Zaitan's Taoist concept, this paper also establishes Zhang Zai's contribution to the history of Chinese science and technology.
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Rudovský, Martin. "Variace B-dur Zdeňka Fibicha." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-323764.
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The discovery of the autograph of Fibich's Variations in B-flat major for piano from 1877 not only extends the collection of known and completed compositions by Zdeněk Fibich, but they also present the single preserved concert variations for piano within his oeuvre. Thanks to the Variations, we can have a better insight into Fibich's compositional technique, for in 1883, he reworked them for a string quartet. Among other things, the comparative analysis reveals the latter work to be an unjustly neglected treasure. Also interesting is the fact that the origin of other significant sets of variations for piano by Bedřich Smetana, Antonín Dvořák and Leoš Janáček falls into the same period as Fibich's opus. Following the discovery in 2008 and the consequent study in Hudební věda ('Musicology') magazine, this thesis further focuses on the dedicatee, Prof. Josef Sallač (1849 - 1929), and reveals him as a prominent figure of the musical world, esp. in the 2nd half of the 19th century. This is one of the reasons why a search for Sallač's archive would be advisable, as it might contain valuable manuscripts. It was, after all, thanks to him that Fibich's Sonata in D major for violin and piano from 1875 was preserved. Powered by TCPDF (www.tcpdf.org)