Log in

Relevant bibliographies by topics / Sonatas (Cello and harpsichord) / Dissertations / Theses

To see the other types of publications on this topic, follow the link: Sonatas (Cello and harpsichord).

Dissertations / Theses on the topic 'Sonatas (Cello and harpsichord)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 33 dissertations / theses for your research on the topic 'Sonatas (Cello and harpsichord).'

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.

1

Minut, Mirabella A. "Style and compositional techniques in Vincent Persichetti's ten sonatas for harpsichord." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536753.

Full text

Abstract:

This dissertation presents the ten sonatas for harpsichord written by American composer Vincent Persichetti (1915-1987). The research aims to define the specific approach to musical style that Persichetti embraced in these works. The methodology employs an analytical approach to define that style. The introductory chapter places the harpsichord sonatas in the context of Persichetti’s keyboard repertoire and his general musical output and outlines the limited scholarly research available on the topic. The second chapter contains a short biography of the composer and a review of existing literature pertinent to this study. In the third chapter, the ten sonatas are individually analyzed. The concluding chapter summarizes common stylistic traits found in the analyses. It emphasizes the importance of these works for contemporary harpsichordists, denoting Persichetti’s passion for the rediscovered instrument in the last several years of his life. The stylistic elements found in Persichetti’s harpsichord sonatas include the use of classical forms, the preference for contrapuntal craft as exemplified accompanied melody, mirror technique, and complementary rhythms, the amalgamated harmonic language, the frequent use of polychords, the use of dynamic markings as indicators of the registration as well as for musical expression and the use of the full range of the harpsichord. This research references for the first time the composer’s Tenth Harpsichord Sonata, published posthumously in 1994.<br>School of Music

APA, Harvard, Vancouver, ISO, and other styles

2

Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.

Full text

Abstract:

There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.

APA, Harvard, Vancouver, ISO, and other styles

3

Cadieux, Marie-Aline. "The Cello and Piano Sonatas of Emilie Mayer (1821-1883) /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu148818776384735.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Vera, Fernand Toribio Soler Antonio Soler Antonio. "Selected harpsichord sonatas by Antonio Soler analysis and transcription for classical guitar duo /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9727.

Full text

Abstract:

Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).

APA, Harvard, Vancouver, ISO, and other styles

5

Vera, Fernand Toribio. "Selected Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Classical Guitar Duo." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9727/.

Full text

Abstract:

Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.

APA, Harvard, Vancouver, ISO, and other styles

6

Llorens, Ana. "Creating musical structure through performance : a re-interpretation of Brahms's cello sonatas." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278796.

Full text

Abstract:

From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.

APA, Harvard, Vancouver, ISO, and other styles

7

Chiang, I.-Fang. "The Sonatas of Johann Gottfried Eckard (1735-1809) and the Evolution of Keyboard Instruments Between 1760 and 1785." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500148/.

Full text

Abstract:

Johann Gottfried Eckard was a self-trained composer and keyboardist studying with Carl Philipp Emanuel Bach’s Versuch while he lived in Augsburg. Eckard traveled to Paris with the keyboard instrument builder, Johann Andreas Stein, in 1758 and settled in France for the rest of his life. Eckard only composed eight keyboard sonatas and a set of variations on the Menuet d’Exaudet. He published his works during the transitional period from harpsichord to fortepiano. The eight keyboard sonatas incorporated variations of musical styles which included Italian sonata, galant, and empfindsamer stil. His keyboard sonatas influenced his contemporaries including Wolfgang Amadeus Mozart and Johann Schobert. Eckard was one of the early fortepiano composers in France and tried to promote the new instrument, but wrote in the Foreword of six sonatas (op.1), that they were suitable for the harpsichord, the clavichord, and the fortepiano. The six sonatas of op.1 were published in 1763, two years after fortepiano was advertised for sale in the local newspaper. In 1768, the fortepiano was used in a public concert for the first time in Paris. In the aspect of performance practice, both harpsichord and fortepiano used juxtapose during the transitional period, even though the music would sound better on the fortepiano especially the slow movements in Eckard’s sonatas. The early stage of French fortepiano building was influenced by German keyboard instrument builders. In addition to building harpsichords, French builders, Taskin and Goermann, also started building fortepianos. Eckard was highly respected as both a composer and a performer from music critics in his time.

APA, Harvard, Vancouver, ISO, and other styles

8

Kleinmann, Johannes. "Polystylistic Features of Schnittke's Cello Sonata (1978)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30478/.

Full text

Abstract:

Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.

APA, Harvard, Vancouver, ISO, and other styles

9

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/.

Full text

Abstract:

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 resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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 of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.

APA, Harvard, Vancouver, ISO, and other styles

11

Monsman, Nancy Weaver. "Cello music in an eighteenth century manuscript: The "Opus 1" sonatas of Giuseppe Dall'Abaco (1710-1805)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185470.

Full text

Abstract:

Giuseppe Dall'Abaco was one of a small group of Italian cellists active as composers and performers in London at the midpoint of the eighteenth century. The majority of his cello sonatas, together with those of several cellist colleagues, appears in Manuscript 31528 (dated after 1760) at the British Library. Only four other Dall'Abaco cello sonatas are known to exist, and there is no record that any of his works were published during his lifetime. However, the first group of twelve sonatas in Manuscript 31528 appears to have been intended for publication since it is headed by an embryonic title page and the sonatas are arranged with regard to balance of key plan, increasing length, and progressively greater technical difficulty. Although it has been assumed that the sonatas were composed in the 1760s, this study will demonstrate that Dall'Abaco's nobility, acquired in 1766, was inscribed later on the title page of these sonatas; thus their actual date of composition presumably preceded this date. The sonatas, which exhibit style characteristics typical of the time of transition from the late baroque to the early classic era (primarily the decade of the 1740s), are shown to be a coherent collection because of common melodic, harmonic, and rhythmic gestures. Since four movements from the Dall'Abaco sonatas appear as the published works of "Signor Martino," dated 1745 by the British Library, Martino's sonatas are also evaluated. It will be shown that these four similar movements, two of which appear as part of the well-known Sonata in G major attributed to Giovanni Battista Sammartini, most probably have their origin in Dall'Abaco's manuscript. Although Martino's true identity has long been in dispute, this study will demonstrate that he was in fact the French cellist Martin Berteau. The eleven Dall'Abaco sonatas existing only in manuscript are transcribed in Part II. In Part III of this document, three of these manuscript sonatas have been realized and edited for modern performance.

APA, Harvard, Vancouver, ISO, and other styles

12

Ortega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Yun, Mi Yeon. "A New Vision for the Genre:The Five Cello Sonatas of Ludwig van Beethoven and the Striving Towards Instrumental Equality." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367945031.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Kono, Yutaka. "Discussion of transcribing music for tuba and a transcription of Sergei Rachmaninoff's Sonata for cello and piano in G minor, op. 19 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075616.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Yun, Mi Yeon. "A New Vision for the Genre| The Five Cello Sonatas of Ludwig van Beethoven and the Striving Towards Instrumental Equality." Thesis, University of Cincinnati, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3599334.

Full text

Abstract:

<p> Mainstream scholarship teaches that Beethoven's five cello sonatas follow his progression as a composer. The Op. 5 sonatas are considered to belong to the Classical tradition of keyboard domination and cello subordination, and the Op. 69 sonata is held as an important transitional work in which the cello and the piano are first treated as equals. The Op. 102 sonatas, appearing in Beethoven's increasingly chromatic and contrapuntal late period, further integrate the cello into the music making, but many scholars see the cello here as more of an independent voice than a matching partner. A closer look at the sonatas reveals a composer who was more consistent in his thinking. This document will study the relationship between the cello and the piano in each of the five cello sonatas of Ludwig van Beethoven and demonstrate that the equal treatment of both instruments, so widely praised in the Op. 69 sonata, is present in all five works.</p>

APA, Harvard, Vancouver, ISO, and other styles

16

Lee, Jeong-A. "Benjamin Britten's Sonata in C for Cello and Piano, Op. 65: A Practical Guide for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9841.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

Full text

Abstract:

Thesis (D.M.A.)--University of North Texas, 2003.<br>Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).

APA, Harvard, Vancouver, ISO, and other styles

18

Yapp, Francis Anthony. "Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)." Thesis, University of Canterbury. School of Music, 2012. http://hdl.handle.net/10092/7464.

Full text

Abstract:

When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue. Yet notwithstanding its repertoire and the skill of its performers, this generation of French cellist-composers has remained undervalued and underexplored. To a large extent, this neglect has arisen because a succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing. This dissertation focuses exclusively on the early French cello school. It seeks to examine the rise of the solo cello in France within its socio- cultural and historical context; to provide biographies of those com- prising the early French cello school; to explore the repertoire with particular emphasis on the growth of technique and idiom, detailing features that may be described as uniquely French, and to assert the importance of and gain recognition for this school, not as a forerunner of the so-called Duport school but as an entity in itself.

APA, Harvard, Vancouver, ISO, and other styles

19

Kim, Jungsun. "Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4504/.

Full text

Abstract:

This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.

APA, Harvard, Vancouver, ISO, and other styles

20

Wu, Hsin-Yi, and 吳欣怡. "A Research about the Promotion of Cello Positions from Beethoven’s “Cello Sonatas, Opus 102”." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/25835653191408875385.

Full text

Abstract:

碩士<br>國立中山大學<br>音樂學系研究所<br>91<br>Beethoven composed five sonatas and three variations for cello and piano in his lifetime. His five cello sonatas (including two in his early, one in the middle and two in the late period), a series of very interesting compositions, showed different styles of different time. These two “Cello Sonatas, Opus 102” are Beethoven’s last composition for cello. They are marked the beginning of Beethoven’s late composition style, as well as the most important compositions in the year of 1815. Hence we can say that those two pieces have attained considerable importance: not only in the change of style, but also in the innovation of his composing skills. Other than that, in these two “Cello Sonata, Opus 102”, the way of his composing for cello idioms heavily has influenced the six string quartets he composed later. This paper is mainly based on those two “Cello Sonatas, Opus 102” in Beethoven late career. It discusses the composing background of those two pieces, the techniques in which they were written, and the characters of its music. In addition, the paper would initially mention the improvement of string instruments and the progresses of performing techniques in the 18th Century, and how the cellists around Beethoven influenced his compositions. Further, we can even find, by his late two cello sonatas and chamber music, how Beethoven has improved the conventional role of cello.

APA, Harvard, Vancouver, ISO, and other styles

21

Tseng, Chia-Yi Lo Pei-Rong Kang Minah Ballena David. "Selected cello sonatas from 1880-1950 tradition and innovation." 2007. http://hdl.handle.net/1903/9732.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Seo, Jun. "Doctoral thesis recital (cello)." 2014. http://hdl.handle.net/2152/26545.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Asuncion, Victor Santiago Beethoven Ludwig van Werner Tobias. "The sonatas for piano and cello by Ludwig van Beethoven a recording project /." 2007. http://hdl.handle.net/1903/9730.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Crookall, Christine Evelyn. "Jean Coulthard's Sonata for cello and piano a confluence of stylistic tendencies /." 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023546.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Kim-Tetel, Sophia. "A musical analysis of Sergei Rachmaninoff's Sonata for cello and piano, op. 19." 2011. http://liblink.bsu.edu/uhtbin/catkey/1652233.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Ballam, David. "Doctoral thesis recital (double bass)." 2011. http://hdl.handle.net/2152/16697.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

HSU, YU-SHAN, and 許瑜珊. "Classical Music and Gum Bichromate Print—The Creation of Interpreting Brahms Cello Sonatas with Abstract Form." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8wzm2h.

Full text

Abstract:

碩士<br>國立臺灣藝術大學<br>視覺傳達設計學系<br>104<br>In the age of globalization, the modern society manifests on versatility and discourages self-limitation; one should bring curiosity to the fullest to inspire interdisciplinary learning motivation, in order to broaden the horizons and cultivate general capabilities. Classical Music and Gum Bichromate Print is an interdisciplinary series of work combining visual and auditory senses, within which art is given new meanings and values with interchanging senses transmitting emotion. Classical Music and Gum Bichromate Print uses the 2010 live version of two of Brahms’ Cello Sonata, performed by Cellist Ling-Yi Ou Yang at the Arts Center of National Tsing Hua University, as research subject. This thesis aims to transform classical music into visual artwork with the concept of synesthesia, through processes of literature analysis, research in the composing background and the interpretation of the performer, on which the creative process is based. In depth, this thesis references similar case studies on their printing techniques, creating a collection of abstract artwork by using plastic developing technique. This research aims to alternate the underlying stereotype that the spectators have had towards classical music, combining the researcher’s personal upbringing background and aesthetic experiences. Not only is the musical piece reinterpreted with a whole new perspective in this research project, but the classical printing craftsmanship is represented as well, in order to bring it to public awareness and pass it down in the generations to come.

APA, Harvard, Vancouver, ISO, and other styles

28

Rzeczycki, Tomasz Sebastian. "Felix Mendelssohn's Sonata for cello and piano in D-major, Op. 58, its place in the history of the cello sonata and the influence of Beethoven." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108501.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Kono, Yutaka 1971. "Discussion of transcribing music for tuba and a transcription of Sergei Rachmaninoff's Sonata for cello and piano, in G minor, op. 19." 2002. http://hdl.handle.net/2152/11062.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Wilson, Miranda Clare. "Shostakovich's Cello sonata : its genesis related to socialist realism." Thesis, 2005. http://hdl.handle.net/2152/1573.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Gueorguiev, Martin. "Traditional formal structures and 20th century sonorities a successful pairing in the solo cello sonatas of Ligeti, Crumb, and Stevens /." 2009. http://purl.galileo.usg.edu/uga%5Fetd/gueorguiev%5Fmartin%5Fg%5F200905%5Fdma.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Hall, Bryan Emmon. "Doctoral thesis recital (violin)." Thesis, 2012. http://hdl.handle.net/2152/23578.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Ragno, Janelle Suzanne. "The Lutheran hymn "Ein' Feste Burg" in Claude Debussy's Cello Sonata (1915): motivic variation and structure." Thesis, 2005. http://hdl.handle.net/2152/2058.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!