Dissertations / Theses on the topic 'Rimsky-Korsakov'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 17 dissertations / theses for your research on the topic 'Rimsky-Korsakov.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Bilderback, Barry T. "Nationalism in Rimskii-Korsakov's instrumental music : an analysis of three symphonic works based on Russian themes /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018356.
Full textTypescript. Includes vita and abstract. Includes bibliographical references (leaves 357-366). Also available for download via the World Wide Web; free to University of Oregon users.
Muir, Stephen Phillip Katongo. "The operas of N. A. Rimsky-Korsakov from 1897 to 1904." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367629.
Full textHalbe, Gregory A. "Music, drama and folklore in Nikolai Rimsky-Korsakov's opera Snegurochka (Snowmaiden)." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101310922.
Full textTitle from first page of PDF file. Document formatted into pages; contains x, 187 p.; also includes graphics. Includes bibliographical references (p. 180-187).
Schreiber, Rebecca A. "(Re)Framing the Storyteller’s Story in John Adams’s "Scheherazade.2"." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin155361836303747.
Full textMerlino, Shannon M. "Adoration, Appropriation, or Approximation? Rethinking the Exotic in Western Music." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/548419.
Full textD.M.A.
Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of this aesthetic trend. First, I present a discussion of the problems and difficulties inherent in the study of exoticism in music, some of which I believe are related to the relative lack of study in this area. Because of the nature of how elements of non-European cultures were historically assimilated and appropriated by the Europeans, questions of ethics and terminology are abundant and not easily answered. In some cases, the cultural “Other” is portrayed reverently, almost to be feared; in others, they are portrayed almost comically. But can this portrayal be attributed to the composer alone, or have decades and even centuries of performance traditions influenced certain attitudes towards these works? And are these original attitudes, no matter whether positive or negative, an essential part of understanding these works? How might we amend the language used in discussing this topic so that our own cultural bias (or lack thereof) does not affect it? After addressing the issue of how musical scholars have, until now, discussed these issues, I present my own method of dealing with them: the reorganization of what we have come to define as “musical exoticism” into four categories: appropriative allomimesis, approximative allomimesis, evocative exoticism, and temporally-exotic evocation. Using musical examples, I discuss how these terms might be used in place of simply the term “exotic”, hopefully paving the way for future scholarship on the topic. I believe that with more understanding of the study of the exotic in music and a more erudite manner of discussing it, a greater understanding of the aesthetic and its sociological ramifications might be achieved. By revising the language we use to discuss the exotic in Western music, I hope to provide my readers with a means toward insight into the deeper implications of composers’ choices to portray people from countries, cultures, and places other than their own. My intention is that this will allow and inspire performers and scholars to consider these implications in their studies of these works.
Temple University--Theses
Saarinen, Margaret. "An examination of works for band : Fortress variants by Elliot Del Borgo, Reflections by James Swearingen, Equinox by Ed Huckeby, and Procession of the nobles (Rimsky-Korsakov) arranged by Andrew Balent." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/971.
Full textGreen, James Matthew. "The History and Usage of the Tuba in Russia." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449095115.
Full textGosenpud, Abram Akimowitsch. "Die Legende von der unsichtbaren Stadt Kitesch von Nikolai Rimskij-Korsakov und Parsifal von Richard Wagner." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221306.
Full textGosenpud, Abram Akimowitsch. "Die Legende von der unsichtbaren Stadt Kitesch von Nikolai Rimskij-Korsakov und Parsifal von Richard Wagner." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 64-73, 1998. https://ul.qucosa.de/id/qucosa%3A15452.
Full textFerreira, Susana Milena. "Poesia de A. K. Tolstoy em duas abordagens para canto e piano." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12783.
Full textNeste trabalho procurou-se fazer uma análise interpretativa e musical de seis poemas de Aleksey Konstantinovich Tolstoy, poeta, novelista de finais do séc. XIX, musicados pelos importantes compositores russos: Tchaikovsky e Rimsky-Korsakov.
In this work we tried to make an interpretative and musical analysis of six poems by Aleksey Konstantinovich Tolstoy, Russian poet, novelist and playwright, of the nineteenth-century, composed by great Russian composers such as: Tchaikovsky and Rimsky-Korsakov.
Alston, Ray S. ""Singing the Myths of the Nation: Historical Themes in Russian Nineteenth-Century Opera"." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524176697602489.
Full textSchröder, Gesine. "Raffiniert ... oder lieber roh?" Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60680.
Full textNine years after the Russian and eight after the French first publications, the German, alongside the English translation of Rimsky-Korsakov’s famous treatise was eventually published by the Edition Russe de musique in 1922. In answering this question, the following has been taken into account: i) orchestration guides written in German after 1922; ii) documents from education institutions; iii) German historiography of the theoretical discipline in question; and iv) works by German composers who are known to have reacted against Rimsky-Korsakov’s model of orchestration. The sound ideal associated with the orchestra had changed. Selectivity was emphasized and composers sought to create an orchestral sound that was seen as ‘split up’ and thought of as the opposite to something merging and melting. The new composers sought a raw, woodcut-like orchestration. Some musicians nonetheless could not or did not want to escape from the deep technical insights of Rimsky-Korsakov, from the sophistication and raffinement of the Russian orchestrator. The conflict between the fascination by his writing and the new sound fashion soon offered multiple solutions. Especially one of them was successful: Rimsky-Korsakov\\\'s explicit recommendations could be understood against the grain, or could be taken too literally: in the thirties just this guaranteed expressivity
Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.
Full textCHEN, WEI-LI, and 陳瑋莉. "An Analysis and Interpretation of Variations for Oboe and Wind Band by Rimsky-korsakov." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/kmag4e.
Full text國立臺灣藝術大學
音樂學系
106
In Russian, Glinka use Delvig poem " Why do you cry, young beauty?" Fill in the chords and melody creation into a Romance song.In 1908, Rimsky-Korsakov using themes of Romance song create "Variations" for Oboe and Band. This works for the Wind Ensemble orchestration. The early history of pipe bands, has been to boost the morale of the function, until the late nineteenth century, the composer was to create instrumental music written for the concerto, Concerto for Wind Ensemble instrumental rare at the time. This song is about the character of thesis contents of the collection, there are Delvig, Glinka and Rimsky-Korsakov's introduction, creative background music performance, and to explore the creation of music analysis technology and architecture, and finally it is the interpretation of this song perspective.
Fan, Yang-Hao, and 范洋豪. "The Analysis and Interpretation of“Concerto pour Clarinette sib et Orchestre d'Harmonie” by Nikolay Rimsky-Korsakov." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85876337846160938938.
Full text國立臺北教育大學
音樂學系碩士班
102
This thesis focuses on the analysis and interpretation of the clarinet work, Concerto pour Clarinette sib et Orchestre d'Harmonie by Russian composer, Nikolay Rimsky-Korsakov. It was composed in 1878.The thesis included four chapters. The Introduction includes the research motivation and purpose, scope of research, methodology and literatures. The second chapter provides the background information about Nikolay Rimsky-Korsakov his style. The third chapter researches his work “Concerto pour Clarinette sib et Orchestre d'Harmonie” using music analysis technique and the interpretation of performers. The following forth chapter concludes the previous three chapters. Through this thesis, performers will have better understanding of the birth of “Concerto pour Clarinette sib et Orchestre d'Harmonie” the meaning of the music, hence perform accordingly.
"New Editions of G. P. Telemann’s Sonata in F minor TWV 41:f1 and N. A. Rimsky-Korsakov’s Concerto for Trombone." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38421.
Full textDissertation/Thesis
Doctoral Dissertation Music 2016
"Introduction of Soviet Trombone Literature to Western Trombone Repertoire." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.36460.
Full textDissertation/Thesis
Doctoral Dissertation Music 2015