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Dissertations / Theses on the topic 'Scarlatti'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Cirne, Luís Fernando Muniz. "Scarlatti e Beethoven: proximidades?" Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-24102014-104856/.

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A observação recorrente que alguns pianistas, professores de piano e compositores fazem sobre a presença da escrita de Domenico Scarlatti em alguns movimentos das Sonatas de Beethoven, sugere que há alguma relação estética entre estes compositores até então não devidamente esclarecida. A primeira questão que aparece é como Domenico Scarlatti pôde chamar a atenção de Beethoven, considerando que Scarlatti foi um compositor italiano que saiu de Nápoles para Lisboa e finalmente Madrid, onde compôs as suas 555 Sonatas para o teclado, dedicadas à sua empregadora, rainha Maria Bárbara da Espanha. Bee

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2

Schacht-Pape, Ute. "Das Messenschaffen von Alessandro Scarlatti /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35619096b.

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3

Boulanger, Richard. "Les Innovations de Domenico Scarlatti dans la technique du clavier /." Béziers (BP 4049, 2 Pl. de la Révolution, 34325 Cedex) : Société de musicologie de Languedoc, 1988. http://catalogue.bnf.fr/ark:/12148/cb349402105.

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4

Hale, Harris Kimberly Coulter. "Poetry and Patronage: Alessandro Scarlatti, The Accademia Degli Arcadia, and the Development of the Conversazione Cantata in Rome 1700-1710." Thesis, Connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/Open/hale%5Fharris%5Fkimberly/index.htm.

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5

Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.

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The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the re

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6

Navakaitė, Neringa. "Domenico Scarlatti kūrybos bruožai bei klavyrinių sonatų sandaros ir muzikos kalbos ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130822_133014-38005.

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Domenico Scarlatti (1685-1757) – vienas žymiausių Baroko epochos italų kompozitorių, klavesinininkų, vargonininkų, pedagogų ir atlikėjų. Jo klavesininė kūryba yra neabejotinas XVIII a. muzikinės kultūros fenomenas. D. Scarlatti kūryba susijusi su laikotarpiu, kada nuo polifoninio stiliaus pereita prie homofoninės muzikos kalbos braižo. Nors kompozitorius yra sukūręs įvairių muzikinių kompozicijų, tačiau reikšmingiausią kūrybos dalį sudaro klavesininės sonatos. Jos ir įamžino italų kompozitoriaus vardą muzikinės kūrybos istorijoje. Iš sukurtų apie 600 klavyrinių sonatų, šiuo metu atlikėjams yr

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7

Willis, Christopher Timothy. "Performance, narrativity, improvisation and theatricality in the keyboard sonatas of Domenico Scarlatti." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/283830.

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8

Lee, Ji-Eun. "A comparison of the keyboard sonatas of Domenico Scarlatti and Antonio Soler." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7844.

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Bibliography: leaves 56-57.<br>The main objective of this study is to investigate the relationship between Domenico Scarlatti and Antonio Soler through a comparison of their backgrounds, a discussion of various influences on their works, and their placement within the historical context of the development of the keyboard sonata, Among their most prominent similarities are their inspirations found in the use of national Spanish elements in their compositions and also their modification of and experimentation with formal structure. Both composers' sonatas were composed using structural practices

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9

Abbassian-Milani, Farhad. "Zusammenhänge zwischen Satz und Spiel in den Essercizi (1738) des Domenico Scarlatti /." Sinzig : Studio, 1998. http://catalogue.bnf.fr/ark:/12148/cb39996118t.

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10

Francou-Desrochers, Maria-Alexandra. "Resituating Scarlatti in a nationalist context: Spanish identity in the «Goyescas» of Granados." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66645.

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Profound changes marked music in Spain towards the end of the nineteenth century. Casting aside Italian influences, which had governed many aspects of music in Spain up until then, Hispanic composers sought to redefine and regenerate the nation's musical identity. Taking as their model the so-called "Generation of '98," a literary movement that explored new ways of defining a "genuine" Spanishness, Spanish composers—chief among them Enrique Granados—took inspiration from pre-nineteenth-century musical figures, including, perhaps paradoxically, composers who came from outside

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11

Giliberti, Patrizia. "A interpretação das sonatas de Domenico Scarlatti no piano moderno: edição crítica dos manuscritos: "Manuscrito P-Cug MM 58, 10 da Biblioteca Geral da Universidade de Coimbra", "Essercizi per Gravicembalo (1738) da Biblioteca Nacional de Portugal" e "Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal"." Doctoral thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/10693.

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A tese tem o objetivo de dar os fundamentos para uma interpretação atual, no piano moderno, das sonatas de Domenico Scarlatti contidas nas coleções portuguesas: Essercizi per gravicembalo, Manuscrito P-Cug MM 58,10 da Biblioteca Geral da Universidade de Coimbra e Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal, originalmente compostas para os instrumentos de tecla da época. Apresenta uma nova edição crítica destas sonatas, em notação moderna e com dedilhação, que tem como base a análise formal e harmónico-estrutural, incluindo os aspetos organológicos, de ornamentação, andamento,

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12

CIPRIANI, BENEDETTO. "La tradizione del partimento a Roma e le «Regole per ben [son]are il cembalo [...]» di Alessandro Scarlatti." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2020. http://hdl.handle.net/2108/270434.

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13

Dubowy, Norbert. "Zur Morphologie des «dramma per musica». Die Doppelarie bei Alessandro Scarlatti und seinen Zeitgenossen." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37137.

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14

Svanström, Oscar. "Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84952.

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Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver

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15

Marx-Weber, Magda. "Domenico Scarlattis ”Miserere”-Vertonungen für die Cappella Giulia in Rom." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38292.

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16

Lin, Shuennchin. "The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288715.

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This document is a thorough study of the glissando throughout its chronological development, consisting of an examination of differences in the glissando's functions, types, and executions. Examples are extracted from piano solo and piano concerto compositions, which were written by composers from Domenico Scarlatti, born in 1685, to George Crumb, born in 1929. The glissando was used as a formal compositional device in the eighteenth century, beginning with the works of Domenico Scarlatti. It evolved from the Schleifer and was ornamental and occasionally melodic in function. Composers of the C

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17

Yáñez, Navarro Celestino. "Nuevas aportaciones para el estudio de las sonatas de Domenico Scarlatti. Los manuscritos del Archivo de Música de las Catedrales de Zaragoza." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/394016.

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Tradicionalment, s’ha donat per descomptat que la difusió de la música de Domenico Scarlatti durant el segle XVIII a Espanya fou escassa. Es creia que la circulació de música de tecla es va circumscriure a la cort de Madrid i la seva propera àrea d’influència, sobretot, per dues raons. La primera, pel fet que el nombre de còpies manuscrites trobades als arxius espanyols era reduïda, cosa que ha canviat en els darrers últims anys. La segona, pel desconeixement de que podria existir a Espanya una gran col·lecció de sonates realitzada en vida de Domenico Scarlatti. No obstant això, el descobri

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18

Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.

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Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments

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19

Vrtiška, Karel. "Hudební a pianistický přínos sonát Domen ica Scarlattiho." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202883.

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The goal of the work is to amplify the volume of respectable academic work dedicated to the pieces and life of Domenico Scarlatti which is not, even nowadays, much abundant in the Czech language. The author's effort was also to help other interpreters of Scarlatti's sonatas, who might be reading this work in the future, to familiarize with pieces of knowledge on the sonatas which has not been widely known and to get valuable and inspirational stimuli that may help them when practising. The work is focused on the form of the sonatas and on solution of technical difficulties, which, considering

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Paz, Martha Costa Guterres. "Avalovara: leituras musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/33668.

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Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o

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21

Heiden, Mary Gifford. "Patronage, Connoisseurship and Antiquarianism in Georgian England: The Fitzwilliam Music Collection (1763-1815)." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103327/.

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In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level

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22

Theodoropoulou, Marina. "Alessandro Scarlatti - soprano cantatas : edition, commentary and recorded performances of the autograph cantatas in Yale University, Beinecke Rare Book and Manuscript Library, Osborn Music MS 2." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3808/.

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The current doctoral study uncovered and revived 28 autograph cantatas for Soprano and Basso Continuo composed between 1704 and 1705 by Alessandro Scarlatti (1660-1725). The studied cantatas are held in a manuscript containing 36 cantatas (one of which misses the beginning) in Yale University, Beinecke Rare Book and Manuscript Library, James Marshall and Marie-Louise Osborn Collection, Call Number: Osborn Music MS 2. The historical context in which the cantatas were written and performed is introduced. A physical description of the manuscript follows, with the aim to assist the reader in achie

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23

Duell, Trevor. "The Use of the Trumpet in Early Seventeenth Century Spanish Music Dramas: A Comparative Analysis of Selected Works by Sebastián Durón, Joaquín Martínez de la Roca, and Alessandro Scarlatti." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955023/.

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The purpose of this project is to conduct and analysis of the role and symbolism of the trumpet in two early eighteenth century Spanish music dramas: La Guerra de los Gigantes by Sebastian Duron and Los Desagravios de Troya by Joaquin Martinez de la Roca.

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24

Bizzarini, Marco. "Griselda e Atalia: exempla femminili di vizi e virtù nel teatro musicale di Apostolo Zeno." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3425035.

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This dissertation studies two libretti of Apostolo Zeno: the opera «Griselda» (Venice, 1701) and the oratorio «Joaz» (Vienna, 1726) along with the music composed by Albinoni, Predieri, Giovanni Maria Bononcini, Orlandini, Alessandro Scarlatti, Francesco Bartolomeo Conti, Vivaldi, Caldara and Benedetto Marcello. A systematic examination of libretti, scores, textual revisions, contemporary chronicles and documents sheds new light on the genesis of these works, among which Vivaldi's «Griselda», based on Goldoni's revision, presents a special interest. Moreover, the thesis reconsiders Zeno's libre

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25

Hunt, Janet Evelyn. "The Harpsichord Concertos of Wilhelm Friedemann Bach, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.F. Bach, D. Scarlatti, F. Couperin, J.J. Froberger, G. Ligeti, W. Byrd, and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278911/.

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The harpsichord concertos of Wilhelm Friedemann Bach (1710-1784) have suffered undeserved neglect. The four authenticated solo concertos remain in manuscript, with the result that his contribution to the history of the keyboard concerto has been largely overlooked. This study begins to correct this situation by examining these four concertos--F41 in D Major, F43 in E Minor, F44 in F Major, and F45 in A Minor--as well as the published two-harpsichord Concerto in E-Flat Major, F46, and the incomplete Concerto in E-Flat Major, F42 in order to assess W. F. Bach's contribution to the keyboard conce

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Smith, Katherine P. "Extended Program Notes for Thesis Voice Recital." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/628.

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This thesis presents extended program notes for a sixty–minute vocal graduate recital consisting of the following repertoire for soprano: the arias “Soffri, o cor” and “Dimmi qual prova mai” from Alessandro Scarlatti’s cantata Dal Bel Volto d’Irene; a role study of Zerlina from Wolfgang Amadeus Mozart’s opera Don Giovanni, including her arias “Batti, batti, o bel Masetto” and “Vedrai, carino;” Francis Poulenc’s song cycle Cocardes; selections from Arnold Schoenberg’s song cycle Das Buch der Hängenden Gärten; “Der Hirt auf dem Felsen” by Franz Schubert, a chamber work written for soprano, piano

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27

Lively, Judy Sharon. "Extra-Musical Associations in Selected Pieces From Années de Pélerinage, Troisième Année, by Franz Liszt: A Lecture Recital, Together with Three Recitals of Selected Works of D. Scarlatti, F.J. Haydn, L.v. Beethoven, F. Schubert, F. Chopin, J. Brahms, R. Schumann, and Others." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332359/.

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Volumes one and two of Annees de Pelerinage contain travel impressions. The pieces in volume three serve as a means of expressing a religious pilgrimage. The religiousmeaning is implied by the titles and by letters Liszt wrote concerning specific pieces. For the pieces to have programmatic significance, the music must support the verbal clues. This dissertation maintains that selected pieces in Annees de Pelerinage III are programmatic and that Liszt provided musical clues that have not been discovered or, if noticed, have not been analyzed in detail. Also, the dissertation explores similarit

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Patterson, Yumi Uchikoda. "French Accompanied Keyboard Music from Mondonville's Opus III to Mondonville's Opus V: The Birth of a Genre, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Back, F. Couperin, G. Frescobaldi, W.A. Mozart, C. Balbastre, D. Scarlatti, J.P. Rameau and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277662/.

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In mid-eighteenth-century France, a type of ensemble music was introduced for harpsichord and another instrument(s) in which the harpsichord part is completely written out, instead of a bass line with figures to be realized. Composers of this genre used the word "accompanied" in the tides or in the prefaces of their collections to describe the genre. This study examines the earliest examples of this genre, the works of seven composers, published in the 1740's, (Mondonville, Rameau, Boismoitier, Clement, Dupuits, Guillemain, and Luc Marchand), and compares the various styles of the written out

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Rushing, JemmiLou Rye. "The Influence of Selma Meerbaum-Eisinger's Death on Xaver Paul Thoma's Composition of Ich bin in Sehnsucht Eingehüllt: Sieben Lieder für Sopran und Klavier, A Lecture Recital Together with Three Recitals of Selected Works of O. Messiaen, G.F. Handel, A. Scarlatti, J.S. Bach, W. Latham, and Others." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3216/.

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The aim of this study is to introduce the contemporary German composer, Xaver Paul Thoma, and his composition, Ich bin in Sehnsucht Eingehüllt on the poems of Selma Meerbaum-Eisinger. This study explores the possible reasons behind Thoma's decision to set the poems, as well as the circumstances and significance of the poets' life and poetry, made known through Thoma's composition. An analysis of each song is included, emphasizing especially the relationship between text and music.

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Rushing, JemmiLou Rye. "The influence of Selma Meerbaum-Eisinger's death on Xaver Paul Thoma's composition of Ich bin in Sehnsucht eingehüllt, sieben Lieder für Sopran und Klavier a lecture recital, together with three recitals of selected works of O. Messiaen, G.F. Handel, A. Scarlatti, J.S. Bach, W. Latham and others /." view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/rushing%5Fjemmilou/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by 4 recitals, recorded June 17, 1996, June 23, 1997, Mar. 31, 2001, and Apr. 22, 2002. Includes bibliographical references (p. 46-48).

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De, La Matter Katherine. "Domenico Scarlatti's Tolomeo et Alessandro : an investigation and edition." Thesis, City University London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551235.

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This investigation focuses on Domenico Scarlatti's Tolomeo et Alessandro (Rome, 1711), as a representative part of an understudied body of work by a composer who is well-known, but not often acknowledged for his vocal works. The dramma per musica was one of the most popular forms of entertainment in Rome in this period, particularly amongst the most influential group of literati in Italy at that time: the Accademia dell' Arcadia. Scarlatti's setting of this work took place against the backdrop of the turbulent literary aesthetics of the Arcadians: the patron who commissioned the work, the libr

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Chae, Eunhee. "Jules Massenet's Musical Prosody Focusing on His Eight Song Cycles And A Collection, Expressions Lyriques: A Lecture Recital, Together with Recitals of Selected Works of W. A. Mozart, F. Schubert, C. Debussy, R. Strauss, D. Argento, V. Bellini, J. Marx, W. Walton, C. Gounod, A. Scarlatti, G. Fauré, J. Rodrigo, H. Wolf, and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2727/.

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Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature

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33

Sulaiman, Samaa. "Les pianistes et le répertoire du baroque tardif pour clavier : réflexion sur un corpus d’interprétations discographiques (J.S.Bach, Rameau, D.Scarlatti)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20058/document.

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Le vingtième siècle a vu la montée du mouvement de renouveau de l’interprétation de la musique ancienne, notamment celle de la période baroque, appuyé sur une forme de socle théorique. La mise à jour et l’étude des textes contemporains a fourni un ensemble d’éléments permettant de construire des exécutions obéissant à des normes qui rompaient avec l’héritage du dix-neuvième siècle. La démarche appliquée aux modalités d’élocution de la musique s’est accompagnée d’un travail de restauration et de remise en service de l’instrumentarium ancien, qui est devenu un élément central de la pratique mode

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34

Scarlat, Raul Cristian [Verfasser], Georg [Akademischer Betreuer] Heygster, Gunnar [Gutachter] Spreen, and Leif Toudal [Gutachter] Pedersen. "Improving an optimal estimation algorithm for surface and atmospheric parameter retrieval using passive microwave data in the Arctic / Raul Cristian Scarlat ; Gutachter: Gunnar Spreen, Leif Toudal Pedersen ; Betreuer: Georg Heygster." Bremen : Staats- und Universitätsbibliothek Bremen, 2018. http://d-nb.info/1169299059/34.

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Poensgen, Benedikt Johannes [Verfasser]. "Die Offiziumskompositionen von Alessandro Scarlatti / Benedikt Johannes Poensgen." 2005. http://d-nb.info/976764377/34.

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36

Damuth, Laura. "Alessandro Scarlatti's cantatas for soprano and basso continuo, 1693-1705." 1993. http://catalog.hathitrust.org/api/volumes/oclc/32583604.html.

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37

Gonzales, Kayla. "Romance in the music of Obradors, Schubert, Gordon and Scarlatti." 2018. http://hdl.handle.net/2097/38925.

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Master of Music<br>Department of Music, Theatre, and Dance<br>Major Professor Not Listed<br>This report is extended program notes that focus on romantic selections from four composers, prepared for a graduate vocal recital, completed in partial fulfillment of the requirement for the Master of Music degree. The recital was held April 25, 2017 at seven-thirty in the evening at Kirmser Hall on the campus of Kansas State University. The selections for this recital were chosen for their portrayal of the theme romance. The four composers selected for this report are Fernando Obradors, Franz Schube

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Oliveira, Miguel de Laquila. "Transcrição e performance na guitarra das sonatas de Domenico Scarlatti." Doctoral thesis, 2019. http://hdl.handle.net/10773/27525.

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A presente tese busca investigar as diferentes concepções interpretativas na guitarra das sonatas de D. Scarlatti e as particularidades dos cordofones barrocos. Apresenta uma proposta interpretativa, orientada pela construção de uma versão idiomática das peças à guitarra clássica. O aprofundamento da compreensão sobre os elementos técnico-musicais da guitarra barroca, das distintas perspectivas interpretativas, assim como a observação dos processos utilizados na adaptação das sonatas à guitarra, embasou e inspirou o desenvolvimento de uma interpretação e a realização das transcrições. A sistem

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Pan-Yan, Qian-Fei, and 潘閻芊翡. "The Analysis and Interpretation of Five Keyboard Sonatas by Domenico Scarlatti." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/46938856938624038002.

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碩士<br>台南科技大學<br>音樂研究所<br>98<br>In 1685, three great composers were born. In addition to the well-known J. S. Bach and Händel, there was also one composer—Domenico Scarlatti, who had composed 545 keyboard sonatas. Although Scarlatti was not born in Spain, his keyboard sonatas are filled with Spanish ethnic style. Guitar music is especially an important factor in his compositions— throughout his life. Furthermore, in his sonatas, D. Scarlatti utilized many keyboard techniques and skills that had almost surpassed the capacity of the harpsichord at that time, in which the gamut and the skill of ha

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Liu, Chien-Pi, and 劉千碧. "Scarlatti Cantata《Solitudine avvenne, apriche colli'notte》and Meyerbeer Opera( Dinrah )Aia《Ombre Legere》." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/87361262673819255041.

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Houg, Yin chi, and 洪瑩綺. "From Baroque to Twenty Centry - analysis of music by Scarlatti、 Beethoven、Chopin and Barber." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/36813468406802381034.

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CAI, XIAWEI, and 蔡夏微. "A Study on the Style in the Keyboard Sonatas by Domenico Scarlatti (1685-1757)." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/x86939.

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碩士<br>東吳大學<br>音樂學系<br>107<br>The composer Domenico Scarlatti (1685-1757) who created 555 keyboard sonatas, opened up a new path for later composers with the advanced sense of innovation in the development of Western music history. D. Scarlatti pushed the creation and performance of keyboard music to a new level. This dissertation conducts a comprehensive and systematic analysis of the style, performance skills and music structure of the unique music language of D. Scarlatti's keyboard sonatas. 　　This dissertation consists of five chapters. The first chapter, "introduction", introduces the rese

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Soares, Luís Filipe da Silva. "A religião da crítica: o contributo de Eduardo Scarlatti para a crítica do teatro nos anos 30." Master's thesis, 2014. http://hdl.handle.net/10451/18339.

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Eduardo Scarlatti (1898-1990), crítico e teórico do teatro português, contribuiu de forma marcante para a actualização da prática dramática entre 1925 e 1945. Este trabalho analisa a sua produção teórica e crítica, relacionando-os com a época da ascensão e consolidação do Estado Novo. Englobando as várias obras do autor, esta análise centra-se sobretudo em A Religião do Teatro, onde debateu a teoria de Friedrich Nietzsche em A Origem da Tragédia, como proposta de regeneração do teatro, e no conjunto das suas críticas de espectáculos publicadas no jornal O Diabo. Embora os seus escritos sejam

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Fang, I.-Ching, and 方奕晴. "An Analysis and Interpretation of Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano by Marcel Bitsch." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/u8wj7t.

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碩士<br>國立臺南藝術大學<br>鋼琴合作藝術研究所<br>103<br>Marcel Bitsch (1921-2011) is a French composer in the 20th Century. He wrote a number of compositions for wind instruments and published books on theory of harmony, which bring significant impact on the areas of the wind instrument repertoire and the harmonic theory in modern music. Bitsch completed “Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano” in 1950. The composition contains one theme and four variations, in which the theme was derived from Domenico Scarlatti‘s “Sonata in D Major, K. 21” (1739). Bitsch varied the Baroque t

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Breidenbaugh, Kenneth. "Opera seria and late Baroque Venetian forms in scenografia, quadratura, and narrative fresco painting Alessandro Scarlatti, Ferdinando Bibiena, Gerolamo Mengozzi-Colonna, and Giambattista Tiepolo /." 1995. http://catalog.hathitrust.org/api/volumes/oclc/43720969.html.

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Huang, Tzu-Ping, and 黃紫萍. "A Study of Domenico Scarlatti’s Six Keyboard Sonatas." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54363959814989578129.

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碩士<br>台南科技大學<br>音樂研究所<br>98<br>More than five hundred keyboard sonatas composed by Domenico Scarlatti during his whole life played a decisive role in his artistic creation career, and the originality of the compositions has profound influence in the development of the keyboard music history later on. Scarlatti took on a position as a keyboard teacher of Portugal princess, Maria Barbara, and composed a large quantity of keyboard compositions for instructing. In 1728, the princess moved to live in Spain as she married with Spanish prince, and Scarlatti was accompanied by the princess. In spite o

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Matos, Miguel Pedro Quadrio Ferro de. "Dispositivo crítico : condições de possibilidade da crítica jornalística de teatro em Portugal." Doctoral thesis, 2014. http://hdl.handle.net/10400.14/16696.

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Em Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal problematiza-se o lugar da crítica de teatro no interior do polissistema teatral português. Tal programa baseou-se na hipótese de que a crítica jornalística de teatro não encontrou ainda, entre nós, uma inserção adequada nos Estudos de Teatro, sendo vulgarmente sujeita ou à total omissão ou a uma utilização pontual e difusa, que se tem concretizado através de uma estratégia paradoxal de (sub)figuração, v.g., a ela se recorre como exemplo ‘autorizado’, ao mesmo tempo que a sua citação truncada

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Yeh, Pin-I., and 葉品誼. "An Exploration and Teaching Application of Domenico Scarlatti’s Piano Sonatas." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/rkkqs2.

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碩士<br>台南應用科技大學<br>音樂系碩士班<br>106<br>Domenico Scarlatti (1685-1757) was noted particularly for his 555 piano sonatas, which had firmly established his exceptional presence in the Baroque period. Scarlatti was one of the most multi-stylistic and creative composers of the day. His works consist of various musical styles and genres. He also developed unique techniques of imitating other instruments’ sound and performing, which were different from contemporary performing mechanism. For example, he employed the movement of arm into piano performance. He also applied the rhythm of dance music in his c

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