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1
Oh, Eun Jun. "An analytical study of Robert Muczynski's Second piano trio." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/oh%5Feun%5Fjun/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Sept. 10, 2001, June 25, 2003, Apr. 2, 2005, and Nov. 10, 2005. Includes bibliographical references (p. 49-53).
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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.
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Covarrubias, Ahedo Virginia. "Three Main Chamber Music Works for Strings and Piano by the Mexican Composer Manuel M. Ponce." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/95.
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This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance considerations. In addition, each work exemplifies a different musical stage in Ponce's compositional development. The author traces the composer's compositional and stylistic evolution throughout the study of these works. The essay also includes a comprehensive biography of Ponce and a general overview of the composer's chamber music works.
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Cassidy, Robert L. "A comparison of passacaglias in piano trios by Ravel and Shostakovich from a historical and theoretical perspective." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343464.
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This dissertation contains a comparison from a historical and theoretical perspective of the passacaglia from the Piano Trio in E Minor, Op. 67, written by Dmitri Shostakovich (1906-1975), and the passacaglia from the Piano Trio in A Minor, written by Maurice Ravel (1875-1937).Before the history and theory discussion of these two movements begins, a background is given on the passacaglia form and its origins. References are made to the beginnings of the passacaglia in Italy and Spain, as well as the gradual evolution of the form into the keyboard music of the 17th century. Early published examples of passacaglias are displayed in chapter two.The third and fourth chapters of this dissertation are the focus of the comparison, where historical and theoretical information is discussed and deciphered. In the history section, details of the life of the composer during the time he wrote the piece are provided. The theory section contains a concentrated examination and comparison (enhanced by musical examples) of melody, harmony, rhythm, texture, and form, as used by Ravel and Shostakovich in these two passacaglias.It was concluded in this dissertation that both of these master composers used the passacaglia form successfully in their piano trios. As a result, they contributed musical masterpieces in the genre of the piano trio for musicians and scholars alike to investigate, study, and perform.<br>School of Music
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Domenica, Mary Alice. "The Elements of American Vernacular in Three Selected Chamber Works of Libby Larsen: Holy Roller; Barn Dances; and Trio for Piano and Strings." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/380.
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The focus of this essay is a discussion of Libby Larsen's relationship with American vernacular musical expression in her piano chamber music works. This essay examines three works that are representative of the wide range of influences in her piano chamber music: Holy Roller for Alto Saxophone and Piano; Barn Dances for Flute, Clarinet, and Piano; and Trio for Piano and Strings for Violin, Cello, and Piano. They are inspired, respectively, by three different genres of American music: gospel, Western square dance, and jazz. In so doing, this essay discusses Larsen's use of musical quotations, idiomatic harmonic elements, and patterns of rhythm and melody drawn from these varied aspects of American culture. It is essential for musicians to understand how to play varying genres, and this essay offers suggestions on how to play the three different genres of gospel, Western square dance, and jazz within the context of Larsen's music. This essay will hopefully bring these works, and Larsen's larger body of works, to the greater attention of the musical community and introduce them to a wider audience.
6
McConnell, Sarah E. "Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max Reger." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248493/.
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Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.
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Burns, Christopher. "Weave : for string trio /." May be available electronically:, 2003. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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D.M.A. final project--Department of Music, Stanford University, 2003.<br>Pref. includes abstract and performance instructions. "Weave, for string trio, is formed of three solo pieces: Weft for violin solo, Shuttle for viola solo, and Warp for cello solo, each composed using a common structural and metrical grid, so that they may be performed simultaneously"--Leaf iv.
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Tobin, Shannon. ""Aspects of Ravel's piano trio" /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16407.pdf.
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Kim, Jun. "Eum-yang : for new piano trio /." May be available electronically:, 1999. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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D.M.A. final project--Department of Music, Stanford University, 1999.<br>For sampled and computer modified violin sounds, violoncello with microphone (or electronic violoncello), and piano with microphone. Includes abstract and notes on instruments and equipment, compositional and technical processes, and CLM (Common Lisp Music).
10
Heim, Matthew David. "Trio for Clarinet, Viola, and Piano." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155752522.
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Nichols, Richard A. "Trio for horn, cello and piano /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889382746.
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Robin, Gregory Jude. "Sections a quartet for flute and string trio /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/2149.
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KOSTRABA, GREGORY CHRISTIAN. "THE FIRST PIANO TRIO BY ROBERT MUCZYNSKI." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1048094945.
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Stark, Bradley. "Seraph for piano and string orchestra." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44148.
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Seraph is a fifteen minute composition for piano and string orchestra. In addition to traditional musical techniques such as variation and passacaglia, the work employs a distinctive approach to phrase structure, form, harmony, and compositional technique. An ascending natural minor scale serves as the main theme while other melodies, textures, harmonies, and motives interact in counterpoint with the theme. In addition, the theme undergoes its own developmental transformations and modifications, and it influences a distinctive harmonic language featuring extended, non-traditional chords and progressions that rarely repeat. Musical phrases and secondary melodies are unusual in length and mostly avoid expectations of cadence, while metric instability occurs through frequent meter changes. In addition to variation technique, the musical structure features episodes that contrast in compositional design through the development of less prominent motives and differences in approach to harmony. The piano part was partly composed through the use of transcribed improvisation, which serves as a basis for the harmonic and motivic structures heard throughout the composition. The piano part also features complex rhythmic divisions and technical demands for the performer while interacting with the orchestra in a variety of textures. As a whole, the work possesses several features which contribute to an original style and aesthetic.
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Cardoso, Filipa Soraia Mendes. "Inovações camerísticas - o trio de saxofone alto, violino e piano." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9892.
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Mestrado em Música<br>Este documento tem como finalidade complementar o projeto de performance musical que se baseia em três obras para o trio de música de câmara composto por saxofone, violino e piano. A apresentação será realizada pelo Trio Ímpar, projeto criado em Agosto de 2011 e que se revela como o elemento-chave deste processo.
O grupo instrumental de música de câmara composto por saxofone, violino e piano despertou o interesse de muitos compositores, sobretudo nos últimos trinta anos, pelo que, desde então, a escrita para esta formação se tem acentuado com impacto e importância suficientes para o estabelimento deste ensemble.
Marc Eychenne, Nicolai Resanovic e Russell Petersson são três compositores contemporâneos que se destacaram pela criação de obras para o trio de saxofone, violino e piano, sendo o conjunto das mesmas uma importante representação evolutiva no panorama camerístico para esta formação em concreto. Além de apresentadas em concerto no âmbito deste Mestrado em Música, estas obras são analisadas e descritas neste documento, realçando os seus conteúdos inovadores e funcionais em relação à instrumentação utilizada.
A prova da emancipação deste grupo intrumental é ainda reforçada pela longa lista de obras para o mesmo, além de uma série de agrupamentos profissionais com a mesma formação, os quais serão também referidos neste documento.<br>The goal of this work is to complement a musical performance project based in three chamber music works for saxophone, violin and piano. The performance will be held by Trio Ímpar, a project started in August 2011 whose role in this work is essential.
The saxophone, violin and piano trio has been gaining interest from composers in the last thirty years. This increase in repertoire has enabled it to establish itself as a viable chamber music formation.
Marc Eychenne, Nicolai Resanovic and Russell Petersson are three contemporary composers who stand out for their active work creating works for this ensemble. Their work has been essential to the evolution of this ensemble’s repertoire. Three works from these composers will be performed as part of this work, they will also be analyzed and described in this paper, focusing on the various ways the resources provided by this ensemble are exploited.
This paper also includes a list of works for this ensemble, as well as a list of professional groups presenting this formation.
16
Jennings, Linda Gail. "Structural integration and harmonic progression in Beethoven's string trio in C minor /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Wong, Siu-chun Jenny, and 黃小津. "Robert Volkmann's piano trios, op.3 (1842-1843) and op.5 (1850): a study of sources and style." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31226875.
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Muscarella, Susan. "The twentieth century jazz piano trio: the rise of an iconic jazz paradigm." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/18583.
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Considerando a gravação de 1947 The Bud Powell Trio como a gravação referência de
trio de piano de jazz moderno, esta tese centra-se no surgimento e evolução do trio de
jazz moderno cujo líder é pianista. Começando por apresentar, uma resenha dos estilos e
técnicas para piano de da época pre-Powell, esta tese investiga a génese dos trios de piano
jazz e examina três dos mais influeciais pianostas de jazz e lideres dos mais legendários
trios de piano jazz modernos: Bud Powell, Bill Evans e Keith Jarrett. Esta tese também
abordará o paradoxo inerente a um sistema democrático - a expressão própria do
individuo, em justaposição com a responsabilidade para com o todo – e a sua inequivoca
analogia com o gestalt do trio de piano de jazz moderno. Desde a primeira gravação de
um trio de jazz com pianista como líder em 1935, o trio de jazz moderno, evoluiu
tornando-se um exemplo de democracia – um contexto de igualdade em que as funções
rítmicas, harmónicas, e melódicas estão igualmente distribuídas entre os três
instrumentistas, que são ao mesmo tempo solistas e acompanhadores. Esta tese sublinha a
eficácia do trio de jazz moderno – o seu início, e porque subsiste – baseado na sua força e
beleza estética; ABSTRACT:
THE TWENTIETH CENTURY JAZZ PIANO TRIO –
The Rise of an Iconic Jazz Paradigm
by Susan Muscarella
Designating Bud Powell’s 1947 recording, The Bud Powell Trio, as the modern jazz
piano trio benchmark, here, this thesis traces the emergence and evolution of the pianistled,
piano-bass-drums-comprised modern jazz piano trio. Beginning with a general
overview of pre-Powell jazz piano styles and techniques, this thesis investigates the
earliest, most salient pre-Powell jazz piano trios, and examines three seminal modern jazz
pianists and leaders of legendary modern jazz piano trios, Bud Powell, Bill Evans and
Keith Jarrett.
This thesis also brings to the fore the paradox inherent in a democratic system –
individual self-expression juxtaposed with responsibility to the whole – and its
unequivocal analogy to the modern jazz piano trio gestalt. From the earliest recording of
a primarily piano-dominated piano-bass-drums-comprised jazz piano trio in 1935, the
modern jazz piano trio has evolved to become a paragon of democracy – an egalitarian
playing field in which rhythmic, harmonic and melodic roles are evenly distributed
among all three instrumentalists who have come to serve as both soloists and
accompanists.
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Sanchez, Kai. "The Double Bass as a Supportive and Melodic Instrument in a Jazz Piano Trio: Extended Program Notes for Thesis Recital." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/587.
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This thesis presents a recording of seven jazz compositions as performed in the author’s Master’s Recital on March 24, 2012. One of the compositions is my own, and four others are my own arrangements. The present paper includes scores of the original compositions and arrangements as well as program notes that offer historical background, summaries of the form, and observations on performance practice for each selection. I have sought to explore systematically explore the multiple roles of the double bass as a functional, supportive, and melodic instrument in a jazz piano trio. The seven compositions present the full range of challenges the double bassist must face in a small group setting. I explore different approaches and musical concepts that enable a high level of improvised music performance, without disregarding its ties to tradition.
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Yim, Annie. "A comparative and contextual study of Schumann's piano trio in D minor, Op. 63 and Brahms' piano trio in B major, Op. 8 (1854 version) : from musical aesthetics to modern performances." Thesis, City University London, 2016. http://openaccess.city.ac.uk/15123/.
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This thesis explores Robert Schumann's influence on the two very different versions of Johannes Brahms' Piano Trio in B major, Op. 8 – the first version of 1854 and the revised version of 1889 (or Op. 8a and Op. 8b, respectively) – by establishing a biographical and compositional relationship with Schumann's Piano Trio in D minor, Op. 63 (1847), with particular reference to his writings. This comparative study firstly examines Schumann's important contribution to the piano trio genre and the musical aesthetics inherent in his work. His impact on the genesis of Brahms' Op. 8a beyond the biographical is considered in depth here for the first time in a scholarly study. By identifying Schumann's compositional methods from his middle-late period and his musical aesthetics as manifested in relevant compositions, my hypothesis argues that the young Brahms modeled his Op. 8a on Schumann's Op. 63; it also suggests a parallel performing tradition between the two works. In contrast to the continuing musicological enquiries concerning the two versions of Op. 8, performers have paid little attention to Op. 8a owing to a number of misconceptions. The reconstruction of a performing tradition of the first version did not get under way until the 1980s, when the first recording appeared. Although it would seem reasonable to seek clues as to its interpretation from the performing tradition of Brahms' Op. 8b, the more widely known version, my hypothesis instead seeks to align Brahms' Op. 8a with Schumann's seminal work in the same genre, while also reframing Op. 8b in this context. The notion of the 'Schumannesque' with respect to the composer's middle-late period will be examined, alongside a set of musical aesthetics based on Schumann's early Davidsbündler ideology. The ways in which these issues relate to Brahms' Op. 8a are reflected in my proposed performance guidelines for the work, which are substantiated through methods of practice-based research.
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Vieira, Adriana Lemes Dias. "O piano nos trios de Estércio Marquez Cunha." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3326.
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Previous issue date: 2013-05-23<br>This research presents a discussion of Estércio Marquez Cunha's trios with piano from the
perspective of a pianist. From the theoretical foundations presented by Chiantore (2004) and
Richerme (1996) on piano technique, Baron (1998) and Radice (2012) for chamber music,
Schoenberg (2004) and Correa (2006) for structural and harmonic analysis, and Garcia and
Barrenechea (2003) describing the work for solo piano of Estércio M. Cunha, this article
contextualizes the works and points out the challenges and technical/interpretative
suggestions to the pianist who wants to perform them. Twelve trios were found in the
collection of Estércio M. Cunha composed between 1969 and 2012, and a
brief harmonic/structural description of the pieces and challenges for the pianist. Of the
twelve, five were prepared by this researcher. The performance provided opportunities for
experiences that support the technical/interpretative suggestions. 60% of the works were
composed after 2000 and they present striking stylistic features of the composer - slow
tempos, rhythmic complexity, timbre as a structural element and quartal harmonies - and
challenges for the chamber pianist that require an interpretive maturity, exploration of
sonorities and reading score that lacks tonal music patterns.<br>A presente pesquisa apresenta uma discussão sobre os trios com piano do compositor Goiano
Estércio Marquez Cunha (1941) sob o olhar do pianista. A partir dos fundamentos teóricos
apresentados por Chiantore (2004), Richerme (1996) e Narum (2010) sobre técnica pianística,
Baron (1998) e Radice (2012) sobre música de câmara, Schoenberg (2004) e Correa
(2006) em relação a análise estrutural e harmônica musical, e Garcia e Barrenechea (2003)
que descrevem a obra solo para piano de Estércio M. Cunha, contextualiza-se as obras e
expõe-se desafios e sugestões técnico-interpretativas para o pianista que pretende abarcar o
projeto de incluí-las em seu repertório. Doze trios foram encontrados no acervo de Estércio
M. Cunha compostos entre 1969 e 2012, dos quais apresenta-se uma breve descrição
harmônico/estrutural e desafios para o pianista. Dos doze, cinco foram preparados por esta
pesquisadora para performance oportunizando vivências que subsidiam as sugestões
técnico/interpretativas colocadas no final de cada descrição. 60% das obras foram compostas
a partir de 2000 e apresentam características estilísticas marcantes do compositor –
andamentos lentos, complexidade rítmica, timbre como elemento estrutural e harmonias
quartais – e desafios ao pianista camerista que exigem uma maturidade interpretativa, a
exploração de sonoridades e leitura melódica e harmônica que não apresenta padrões da
música tonal.
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Nemko, Deborah Gail. "Clara Schumann as innovator and collaborator: The Piano Trio in G minor, Op. 17." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282380.
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This paper traces the musical development of pianist and composer Clara Schumann (1819-1896) leading to the composition of the Piano Trio, Op. 17, one of her most significant works. Like her to contemporaries, the virtuosi Anton Rubinstein and Sigismond Thalberg, Clara Schumann was a gifted pianist and one of the leading musicians of her day. Until recently, little was known about her role as a composer, and her works were consistently relegated to the domain of the "salon." The musical collaboration between Clara and Robert Schumann was productive due both to the close nature of their relationship and their mutual respect for each other's musicianship. Throughout their lives, they developed a lively artistic exchange which included borrowing musical materials from each other. Not coincidentally, the first Piano Trio of Robert Schumann, a work of substantial craftsmanship, bears a strong musical resemblance to Clara's Piano Trio, Op. 17, written one year earlier. In addition, to aid the performer unfamiliar with the Piano Trio, a discussion of performance considerations is included
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Hangartner, Garth Jerod. "IN DARK MOUNTAIN HOLLOWS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991308403.
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Hedges, Jared William. "The Old Forge at Satis House for string quintet and piano." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5499.
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“Get hold of portable property!” says one of the great Dickens characters in Great Expectations. The notion of “portable property” strikes me as deeply analogous to that of pieces of art, which are their creators’ “properties” exported to anyone who will take hold of them. Some of my most valued possessions are the portable properties handed down to me by musicians, painters, writers—most of whom I have never met.
Often it is one specific aspect of an artwork that makes it important to me. Several months ago I was struck by how the ethereal coda (actually, the cadenza) of Elgar’s Violin Concerto simply stops the “music” of the piece, leaving the listener with just…music. The “redeemed” codas found in Bruckner’s symphonies similarly affect me as a listener, in their orchestration of the musical dust as it settles. These endings resonated in my head with that of the Dickens novel quoted above, in which an older, wiser Dickens even admits to not knowing how the story ends by writing his own divergent “codas.” Great Expectations has been a treasured “portable property” to me personally, and continues to haunt and humble me, as it did particularly while writing this piece.
The Old Forge at Satis House is thus a welding of many “portable properties,” but in my mind at least, it is foremost a musical pondering of Dickens’s marshes and forges, and what they reveal about the difference between “great expectations” and great satisfaction.
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Mateus, Abelita. "The influences contributing to the "samba jazz feel" of Cesar Camargo Mariano's piano trio style." Thesis, The William Paterson University of New Jersey, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1567589.
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<p> This thesis connects the influence of Erroll Garner, George Shearing, Oscar Peterson and Nat King Cole to the establishment of Cesar Camargo Mariano's musical style in a trio setting. It shows that Mariano's piano trio playing created a new feel categorized by this author as "samba jazz feel," which was derived from the fusion of the rhythmic basis of samba with some rhythmic aspects of jazz. To show this, the author uses musical analysis along with qualitative interview data drawn from an exclusive interview with Mariano and from his memoir. Historical aspects of the development of both samba and the swing rhythmic traditions are discussed, as well as historical background on the development of the American and Brazilian music industries. The author claims that while the basis of Cesar Camargo Mariano's musical concept are the samba and bossa nova, jazz stylings greatly influenced the establishment of his musical style, mainly his piano trio style, which is one of the most important representatives of the samba jazz feel.</p>
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Sacco, Ana Carolina Robusti 1979. "Estudo interpretativo da obra 'Trio das águas' para clarinete, viola e piano de Ricardo Tacuchian." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285323.
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Previous issue date: 2015<br>Resumo: O objeto de estudo deste trabalho é a peça "Trio das Águas" composta por Ricardo Tacuchian no ano de 2012 e dedicada ao Terra Brasilis Trio, grupo no qual a autora desta dissertação atua como pianista. O primeiro capítulo aborda aspectos do ofício de compositor segundo Tacuchian, seus anseios e motivações para compor, fazendo ainda uma breve explanação a respeito dos fundamentos teóricos do Sistema ¿ T, ferramenta de controle de alturas desenvolvida pelo compositor no início dos anos 80 utilizada para a composição do "Trio das Águas". No segundo capítulo identificamos aspectos relevantes do emprego do Sistema ¿ T e que serviram de base para estruturar esta primeira interpretação. As sugestões interpretativas aqui encontradas baseiam-se no trabalho em conjunto dos primeiros intérpretes da obra com o compositor, buscando melhor compreensão de suas ideias quanto à concepção da obra, sonoridade e articulações desejadas. Os anexos consistem em textos de autoria do compositor sobre a abordagem estética em suas obras e seu Sistema ¿ T, disponibilizados pelo mesmo, e que deram suporte a essa dissertação. Ao levantar essas informações, o presente trabalho tem por objetivo dar subsídios aos futuros intérpretes desta peça no desenvolvimento de uma interpretação coerente com as idéias do compositor<br>Abstract: The subject of this dissertation is the piece "Trio das Águas" (Water¿s Trio) composed by Ricardo Tacuchian in the year 2012 and dedicated to the Terra Brasilis Trio, ensemble where the author of this dissertation acts as pianist. The first chapter addresses aspects of the composer¿s craft, his wishes and motivations to compose it, and explains the T-System (Sistema ¿T), a pitch control tool developed by the in the 1980¿s used in the composition of the "Trio das Águas". In the second chapter, we identify relevant aspects of the use of this T-System that worked as basis for the first interpretation of the piece. The interpretative suggestions are based in the collaborative work of the first interpreters with the composer, seeking a better comprehension of his ideas about the concept of the work, sonority and desirable articulations. The attachments consist of texts by the composer about the aesthetical approach in his pieces and the "Sistema ¿ T". These texts, made available by the composer himself, served as basis for this dissertation. The present dissertation has as its goal to offer support to future interpreters of this piece, facilitating the development of an interpretation coherent with the composer¿s ideas<br>Mestrado<br>Praticas Interpretativas<br>Mestra em Música
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Bueno, Robison Poreli Moura. "Um estudo multivalente do Trio de Alberto Nepomuceno." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-12032019-113458/.
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Este trabalho aborda analiticamente o Trio em fá sustenido menor (1916) do compositor brasileiro Alberto Nepomuceno, com objetivo de constituir um estudo de caso que permita um melhor posicionamento da obra do compositor no período de transição entre o romantismo e o modernismo brasileiros. Ele levanta dados do contexto ideológico-musical no qual se insere a obra, em especial das noções francesas de progresso e suas consequências musicais no início do século XX. A pesquisa apresenta também os fundamentos teóricos de uma proposta analítica que visa incorporar à análise estrutural os desdobramentos do significado musical. Ela procura unir, por meio do conceito de multivalência, os estudos das tópicas, dos esquemas, da narratividade e da intertextualidade. O trabalho apresenta quatro análises multivalentes, uma para cada movimento da obra. Os resultados apontam para uma obra que se constitui em uma rede de símbolos musicais introversivos e extroversivos, que faz um equilíbrio entre a tradição formal e expressiva e o uso de novos materiais sonoros.<br>This work analyzes the Piano Trio in F sharp minor by the Brazilian composer Alberto Nepomuceno, aiming to constitute a case study that allows a better positioning of the composer\'s work in the period of transition between Brazilian romanticism and modernism. It raises data from the ideological-musical context in which the work is inserted, especially the French notions of progress and its musical consequences in the early twentieth century. The research also presents the theoretical foundations of an analytical proposal that aims to incorporate into the structural analysis the unfolding of musical meaning. It seeks to unite, through the concept of multivalence, the studies of topics, schemata, narrativity and intertextuality. The work presents four multivalent analysis, one for each movement of the work. The results point to a work that constitutes a network of introversive and extroversive musical symbols, which makes a balance between formal and expressive tradition and the use of new sound materials.
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Taliberti, Viviane Terezinha Mion Bodaczny. "Trio op. 97, 'Arquiduque' , de Beethoven: um estudo sobre sua interpretação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-29062015-153035/.
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Este estudo analisa o Trio op. 97, escrito por Ludwig van Beethoven, mediante uma abordagem ligada às práticas interpretativas com um enfoque histórico, estético e musicológico. A pesquisa objetivou reconhecer, nessa composição, os procedimentos técnicos, sonoros e interpretativos para alcançar unidade sonora e um pensamento musical comum a uma formação camerística composta por piano, violino e violoncelo. Do ponto de vista metodológico, a pesquisa se valeu de um estudo prático-interpretativo ao piano, da revisão bibliográfica de estudos analíticos da concepção e dos aspectos interpretativos da obra, da escuta analítico-apreciativa de gravações da obra e de uma leitura de sua escrita. O trabalho de interpretação se apoiou, sobremaneira, na leitura analítica das fontes de pesquisa: manuscrito autógrafo, edições posteriores da partitura, cartas de Beethoven a seus editores e textos de comentadores de contemporâneos do compositor. Os resultados da pesquisa mostram, dentre outros pontos, que Beethoven buscou desenvolver uma parceria em que as características de cada instrumento são reconhecidas e valorizadas, mas sempre colocadas à disposição do conjunto. Também mostram que Trio op. 97 reserva ao violino papel menos proeminente que o do violoncelo; e que, com uma escrita pianística que privilegia acordes e as mais variadas figuras, o equilíbrio camerístico requer atenção especial nos quatro movimentos da obra. Enfim, os resultados apontam que as idiossincrasias são fundamentais para interpretar a notação e as intenções musicais de Beethoven. A sistematização das análises e reflexões aqui descritas permitiu clarear, aprofundar e sedimentar conhecimentos sobre a obra; mas de modo algum apontam uma direção única ou uma \"verdade absoluta\".<br>This study analyzes Trio op. 97, written by Ludwig van Beethoven. It does so by approaching it in connection with performance practice and with a focus on historical, aesthetic, and musicological aspects. The research aimed to recognize technical, sound, and interpretative procedures in this composition in order to achieve a sound unit and a musical thought peculiar to the chamber music formation made of piano, violin and cello. From a methodological point of view, the research relied upon a practical and interpretive study on the piano, a reading of analytical studies on the conception and interpretive aspects of Trio op. 97, an analytic and appreciative listening to recordings of this composition and a reading of its musical score. The interpretive work recurred greatly to the analytical reading of research sources such as autograph manuscript, later editions of its musical score, Beethoven\'s letters to his publishers, and of texts on Beethoven\'s life and music by contemporary commentators of him. Research results show, among other aspects, that Beethoven sought to develop a kind of work in which each instrument\'s characteristics are recognized and valued but it always serves the group. Besides, they show point that Trio op. 97 attributes to the violin a role less prominent than cello\'s; and that with a piano writing focused on chords and varied figures, chamber music\'s balance demands special attention as to the four movements of the Trio. Finally, results indicate that the idiosyncrasies are fundamental to interpret Beethoven\'s notation and musical intentions. That said, systematizing analyzes and making some thoughts on this thesis made possible to clarify, deepen and consolidate certain knowledge on Trio op. 97. But it doesn\'t meant prescribing a direction or an \"absolute truth\" regarding a forma of understanding and valuing it.
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Proulx, Jean-François. "A Pedagogical Guide to Extended Piano Techniques." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38213.
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Music Performance<br>D.M.A.<br>Extended piano techniques, which mainly involve playing directly on the internal components of the piano, emerged early in the twentieth century, mainly in the United States. Henry Cowell (1897-1965) explored some of these techniques in short piano pieces such as The Tides of Manaunaun (1917; clusters) The Banshee (1925; glissando, pizzicato) and Sinister Resonance (1930; mute, harmonic). Several contemporary composers followed this path. Notably, George Crumb's (b. 1929) mature works combine conventional techniques with an unprecedented variety of extended techniques, including vocal and percussive effects.
Although extended techniques are no longer a novelty, most pianists are still unfamiliar with them. Extended piano works are rarely performed or taught. This situation is regrettable considering the quality of these compositions, and the great potential of extended techniques to expand the piano's coloristic resources. A Pedagogical Guide to Extended Piano Techniques is designed to help pianists learn this idiom and achieve fluency. Teachers may also find it useful in planning courses at the undergraduate college level.
Chapters 1 and 2 provide general information such as the development and classification of unconventional techniques, and the construction of the grand piano. Chapters 3, 4 and 5 form the core of the monograph. They contain practical exercises, composed by the author, presented in a progressive order and accompanied by detailed instructions explaining how to execute and practice each technique.
From a technical point of view, natural string piano techniques--pizzicatos, glissandos, mutes and harmonics--are the basis upon which most other extended techniques are founded. Therefore, this document focuses mainly on mastering these string techniques through the acquisition of two important skills: visual techniques and aural-motor coordination. The following topics are also discussed: use of foreign objects inside the piano, percussive technique, vocal effects, and strategies to integrate various techniques into a unified musical context. Prepared piano techniques are excluded because they do not require the acquisition of performance skills, which form the essence of this monograph.
Chapter 6 provides a suggested course schedule to organize the pianist's study and practice time, and offers practical advice for the preparation of performances involving extended piano techniques. It is hoped that this document will play a positive role in helping pianists gain the knowledge, ability, confidence and enthusiasm to explore and perform extended piano repertoire.<br>Temple University--Theses
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Rust, Henning Jacobus. "Die ontwikkeling van die vroeë klaviertrio met spesifieke verwysing na die rol van die klavier / H.J. Rust." Thesis, North-West University, 2011. http://hdl.handle.net/10394/8996.
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Studies concerning the development of the piano trio primarily cultivate analyses of the
musical structures found in this genre. Few of these studies deal in depth with the
socio-historical aspect of the development of the piano trio. Such a neglected process
can only lead to the loss of valuable information. It is important to pay careful attention
to our ever-changing environment and how this phenomenon impacts upon music.
The study of the development of the early piano trio (because of the social nature of
chamber music) requires greater attention to the social history associated with this
genre. This development can be traced as an integral part of the Germanic culture,
more specifically that of eighteenth century Germany and Austria. Both societies' love
for the piano led to the full blossoming of the piano trio.
The question arises: to which degree did the early development of the piano and the
changing society- as it mostly appeared during the eighteenth century in Germany
and Austria- have an impact on the development of the early piano trio?
This hypothesis holds that the development of the early piano trio depended (among
other aspects) on the early development of the piano and the changing society of
eighteenth century Germany and Austria. Thus, a mutual connection exists between
all three factors.<br>Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2011
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Silva, Patricia Aparecida da. "Brahms' Trio in A minor, Op. 114: a transcription and edition for double bass, clarinet, and piano." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5851.
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Chamber music is a major area of neglect in the study of the double bass, and the instrument has also suffered from a scarcity of chamber music literature written by major composers. As bassists focus predominantly on solo and orchestral repertoire, the purpose of this study is to enrich the double bass literature and increase awareness of chamber music as a tool for bassists to develop as artists by providing a transcription of Johannes Brahms’s Trio in A minor, Op.114 for double bass, clarinet, and piano. The transcription adds to the literature for double bass from the Romantic era, giving players the chance to work on their technical and musical skills in a chamber music setting. In addition, performance of this transcription will enhance double bassists’ understanding of the style of one of the most important nineteenth-century composers.
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Kim, JongKyun. "The Fundamental Unity in Brahm's Horn Trio, Op. 40." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3953/.
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Different sections or movements of a piece are associated with each other and contain the composer essential thought. A vague affinity of mood and a resembling theme or form testifies to the relationship. However, the evidence is insufficient to reveal the unification of the different sections or movements since these are under restraint of external music proofs. In order to figure out the relationship, thus, identical musical substance should be discovered. In the study the substantial evidence, which can be called unity or unification, is mainly discussed. The unity is illustrated with Brahms's Horn Trio, Op.40 that is one of the Brahms's significant works. The unity found in the Horn Trio is based on the internal structure and structural voice-leading notes. The unity in the Horn Trio is the fundamental structural unity that is divided into initial ascent and voice exchange, and fundamental voice-leading motive. The fundamental unity seriously affects the master piece and penetrates the movements as a whole. Further, it reveals the hidden connections to the historical background of the Horn Trio and the philosophy of Brahms for the music. Even though a piece consists of several sections or movements, the entire piece presents homogeneity. The identity of the composer's underlying philosophical thought suffices to discern the musical unity in a piece. Thus, the investigation of unity is one of the critical ways to understand not merely a piece but also the philosophy of a composer. The study will help to enhance the audience's interpretation of music.
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Gotō, Yo. "Voci lontani for flute, trumpet, percussion, piano, and string quartet, critical essay and score /." connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.unt.edu/etd/all/Aug2004/goto%5Fyo/index.htm.
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Goto, Yo. "Voci Lontani for flute, trumpet, percussion, piano, and string quartet: Critical essay and score." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5555/.
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This project consists of an original composition, Voci Lontani, and a critical essay about the composition. In this piece, the idea of musical simultaneity is explored. Therefore, the piece focuses on the idea of contrast: between measured rhythms and indeterminate rhythms, between tonality and atonality, and between musics in separate tempos. In order to explore the significance of musical simultaneity, four important compositional concepts-the simultaneous juxtaposition of different musics, polyrhythmic structure, controlled indeterminacy, and quotation-are discussed. Also, several examples of twentieth-century music that use these concepts are analyzed in the essay.
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Marshall, Adrienne Marie. "The Clarinetist’s Guide to the Performance of the Clarinet, Viola, and Piano Trios by Mozart, Bruch, and Larsen." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366379914.
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Shiraishi, Yuriko. "L'œuvre de chambre pour cordes et piano de Gabriel Fauré (quatuors, quintettes, trio) : essai de caractérisation de la dynamique formelle." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL179.
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Malgré la notoriété de Gabriel Fauré, le style particulier de sa musique chambre reste encore difficile à appréhender par l’analyse. La construction formelle y est un réel sujet de questionnement. Tandis que certains analystes essaient d’attester son originalité en examinant en quoi elle s’éloigne de la tradition, d’autres proposent des analyses de la dynamique caractéristique de ses thèmes, dont le développement continu aboutit à la réalisation de la grande forme. Ces dernières se sont jusqu’à présent appuyées sur un corpus limité. Cette thèse se propose d’élargir le corpus aux cinq grandes œuvres de chambre pour cordes et piano – deux Quatuors op. 15 et 45, deux Quintettes op. 89 et 115 et le Trio op. 120 et d’y cerner la « dynamique formelle ». Après l’étude des témoignages de l’époque du compositeur qui permet de mettre en relief la conception de l’originalité formelle dans son œuvre, l’analyse porte sur l’agencement interne des thèmes et sur la réalisation de la grande forme à partir de l’étude des partitions mais aussi à l’aide d’une représentation donnée par un logiciel informatique qui permet de visualiser l’enveloppe dynamique et de repérer des climax. En révélant en quoi consiste ce processus, la présente thèse contribue à mieux rendre compte du style personnel de Fauré et de la façon dont il élabore une musique qui donne l’impression d’une progression et d’un développement continus se prolongeant jusqu’à la fin de l’œuvre<br>Despite the notoriety of Gabriel Fauré’s musical style, the particular style of his chamber music still remains difficult to comprehend by analysis. Formal construction is a real subject of question. While some analysts try to attest to his originality by examining how it departs from tradition, others offer analyses of the dynamic characteristic of its themes, whose continuous development leads to the realization of large form. The latter have so far relied on a limited corpus of works. This thesis proposes to expand the corpus to the five large chamber works for strings and piano - two Quartets op. 15 and 45, two Quintets op. 89 and 115 and the Trio op. 120 in order to define the “formal dynamics.” After the study of testimonies from the composer's time that highlights the formal originality in his work, the subsequent analysis deals with the internal arrangement of themes and the realization of large form from the study of scores. I conduct my analysis with the help of graphic representation created by a computer software that can visualize the enveloping dynamic and identify climaxes. By revealing the contents of this process, this thesis helps to better reflect the very personal style of Fauré and the way in which he creates music that gives the impression of continuous progression and development extending to the end of the work
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Dahlbom, David A. "A framework for exploring the relationship between nonlinear string vibration and frequency modulation." Thesis, Boston University, 2013. https://hdl.handle.net/2144/21142.
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Thesis (M.Sc.Eng.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>The spectra of low piano tones have long been known to display unusual, inharmonic characteristics. Surprisingly, precisely this property allowed for fairly successful generation of artificial piano tones by the frequency modulation (FM) synthesis techniques pioneered at Stanford in the 1970s. Though FM synthesis techniques are largely empirical in nature, the close correspondence between the spectra of the FM simulation of piano tones and their actual spectra suggests the hypothesis that there may be a deeper physical connection between frequency modulation and the timbre of string instruments. Recent, highly sophisticated numerical simulations of the physics of pianos have reproduced these characteristic spectra using a geometrically exact form of the equations for vibrating strings. We take these equations as a starting point for an analytical investigation into the connection between modulated waves and instrumental timbre.
The content of the investigation is primarily theoretical, establishing approaches and equations which may be used for further exploration. We proceed by deriving the equations of motion from variational principles. The Lagrangian is given careful treatment so that the transverse and longitudinal directions of motion are clearly separated and their coupling is collected in a single interaction term. Approximate equations of motion are then derived. These are shown to have a structure that supports modulated wave behavior. A general form of the solution is offered which has the form a traveling wave plus a correction term. Understanding the correction term demands the solution of a complex set of nonlinear integral equations, though suggestions are made on how determining certain properties of the integral equations would be sufficient for significant insight into the role of modulation effects in the production of distinct musical timbres. Finally, another form of the solution is offered, one more amenable to iterative solution techniques but less transparent in terms of frequency-domain behavior. A discussion regarding the initial conditions and the requirements for the convergence of either of these forms of the solution is given.<br>2031-01-01
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Clark, Antoine Terrell. "Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano: A Performance Edition with Commentary." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243869380.
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Szczyrbak, Lucas. "Becoming One with My Instrument as A Composer." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3629.
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Det finns otaliga metoder att komponera musik på, och resultatet blir alltid annorlunda. Den föredragna metoden för många är gemensam komposition och andra tycker det finns mer kontroll och bekvämhet i att komponera ensam. Så är frågan vilka verktyg fungerar bäst för den ene kompositör. Det kan vara ett instrument, ett program eller en metod för att skapa musiken, och det val av verktyg som väljas har också en påverkan på kompositionsprocessen och de idéer som följer efter. Som kompositören gradvis börjar att utvecklar en bestämt stilar for att komponera, utvecklar kompositören också musiske mönster som blir ett kännemärke för kompositörens ljud. De mönstren kan omedvetet återanvändas till en senare komposition tillfälle och kan bli en barriär för att skapa ny musik. Om det är ett problem eller inte måste kompositören själv bestämma. Uppgiften med detta examensarbete är att utforska 4 olika metoder för komposition med el-bas som verktyg och se om det är möjligt att undvika de vanliga kompositions rutiner och skapa musik som känns original och färsk.<br><p>Vi gjorde en Live Session i Danmark i en studentlägenhet pga COVID-19 - Allt är spelat in med en iPad. </p>
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Tierney, Paul. "A portfolio of eleven compositions with an accompanying commentary submitted for the degree of PhD in Music Composition at the University of Aberdeen." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=148547.
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This portfolio of eleven scores and an accompanying commentary is an in depth investigation into the use and development of compositional techniques over a wide range of instrumental and vocal combinations. The scores submitted trace my development as a composer by considering research questions related to structural organisation, harmonic and rhythmic development and how external sources, particularly visual and literary, can be used as a starting point for the compositional process. Included in the portfolio are eleven works, categorised into three sections: instrumental music, solo works, and vocal music. The portfolio researches and examines elements of composition such as harmony, texture and timbral relationships, as well as the use of visual and literary art as a stimulus for composition across all of the instrumental and vocal combinations included. My interest in the combination of pre-existing compositional methods such as serialism, with particular regards to pitch, and atonality is also examined in many of the scores and documented in the accompanying commentary.
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Ginder, Jon. "The Fields We Watched." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459292665.
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Geidel, Stanley M. "Mozart's Trio in E-flat, K. 498, for piano, clarinet, and viola : an analytical examination of melodic relationships, a comparative study of current editions, and an investigation of contemporary performance practices." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722774.
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The purpose of this study was to create a document which would provide a variety of insights into Mozart's Trio in E-Flat, K. 498, for piano, clarinet, and viola. Three specific areas were investigated. A melodic analysis of the work was developed with the intention of illuminating the structure of the musical material itself. This analysis explored the dual forces of unity and contrast. Specific motivic shapes were explored which serve to unite the various thematic areas of the work; other elements were identified which are consistently utilized to create contrast and conflict.Secondly, the writer undertook a comparison of current editions of K. 498. Editions were identified as one of three types. Those editions identified as Authentic sought to reflect Mozart's original manuscript; Interpretive editions presented an editorial view of the Trio. Imitative editions were developed entirely from previously existing editions. Comparisons were made both within individual categories as well as between categories. The writer conducted a personal investigation of Mozart's manuscript which provided valuable information regarding the authenticity of certain passages.The study concluded with an investigation of current views on the presentation of K. 498 in performance. Information was obtained from recorded performances of the Trio. In addition, the writer conducted a survey of the opinions of teachers and performers. Comments on the revision of specific passages relative to pitch are included, as well as opinions on tempo, meter, dynamics, articulations, stresses, balance, the interpretation of specific phrases, and musical character.<br>School of Music
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Bach, Judit. "A tale of two piano trios Fanny and Felix Mendelssohn's Piano trios in D minor (op. 11, Op. 49); and how a woman composer's work should relate to the canon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117648285.
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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center
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McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.
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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.
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Bittencourt, Alexis da Silveira. "A guitarra Trio inspirada em Johnny Alf e João Donato : uma abordagem do estilo de interpretação de Johnny Alf e João Donato ao piano, direcionada a performance da guitarra em contexto instrumental trio (guitarra, contra-baixo e bateria/percussão)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284740.
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Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-07T17:47:31Z (GMT). No. of bitstreams: 1
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Previous issue date: 2006<br>Resumo: Este trabalho parte da tese de que o estilo interpretativo ao piano, em contexto instrumental Trio (piano, contra-baixo e seção rítmica), de Johnny Alf e João Donato, constitui uma espécie de elo norteador à interpretação da música popular brasileira a partir da segunda metade do século passado, com raízes no samba e forte influência jazzista. Tem, portanto, o objetivo de definir esse elo e demonstrar como esse pode ser uma valiosa referência ao guitarrista, servindo de fonte para este reavaliar sua prática interpretativa da música popular brasileira<br>Abstract: This research is based on the thesis, that the piano playing style, of Johnny Alf and João Donato, in the piano instrumental trio performance (with double-bass and drums and/or percussion), can be defined as a link, that could be perceived as a guide of how to play the Brazilian Popular Music from the second half of the last century to our days. This kind of music finds its roots in samba, however is strongly affected by the jazz influences. Our goal is to define the link among Alf and Donato, and demonstrate how it can provide valuable references to the guitarist, within the guitar trio situation, as a source for a reevaluation of his directions on playing the Brazilian Popular Music<br>Mestrado<br>Mestre em Música
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Zhu, Yanda. "Part I. Christmas Impressions for String Orchestra. Part II. An Analysis of George Gershwin's Piano Solo Version of Rhapsody In Blue." Youngstown State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1390514184.
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Combs, Cortney Dawn. "An historical and analytical discussion of Clara Schumann's Piano trio, op. 17." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075609.
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Hart, Hilary Brain Dennis Conlon Frank Sato Erika Rakers Michelle A. "Dedications for Dennis Brain a musical exploration of his additions to the repertoire of the French horn." 2007. http://hdl.handle.net/1903/9734.
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Demers, Dimitri Sacha. "Trois compositions, trois genres musicaux et une démarche programmatique : Le chat noir, La nébuleuse de la tour, Le livre de Thot." Thèse, 2009. http://hdl.handle.net/1866/4682.
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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).<br>Ce mémoire expose les résultats de mon projet de recherche, qui consistait à élaborer et tester ma démarche compositionnelle s’appliquant aux musiques de pratique électroacoustique, instrumentale et mixte. Mon intention était d’uniformiser et de systématiser mon approche s’inscrivant essentiellement dans l’esthétique des romantiques. J’y combine musique à programme, partitions graphiques et autres techniques modernes de composition. Le premier chapitre est consacré à la description détaillée et commentée des
trois étapes qui constituent mon travail de création : le programme, l’analyse ainsi que la structure et la forme. Pour expérimenter cette approche, j’ai composé trois pièces : Le chat noir, pièce mixte pour gamelan, bandes et traitements en temps réel et inspirée d’une nouvelle d’Edgar Allan Poe, La nébuleuse de la tour, pièce électroacoustique basée sur une partition graphique exécutée par une guitare et un trombone et, comme troisième pièce, Le livre de Thot, pour trio à cordes et piano, présentée en quatre mouvements inspirés d’autant de cartes du tarot. Les trois pièces sont décrites et analysées en fonction de ma démarche aux chapitres deux, trois et quatre, respectivement.<br>This thesis presents the results of my research project which consisted in elaborating and testing my compositional approach in three musical forms, namely, electroacoustic, instrumental, and mix. My aim was to systematize my approach—which belongs essentially with romantic aesthetics—and to make it uniform by combining program music, graphic partitions, and other modern compositional techniques. The first chapter is devoted to the detailed and commented description of the three stages of my creation process : program, analysis, as well as form and structure. To test my approach, I have composed three pieces, 1- Le chat noir, a mixed piece for gamelan, recording and real-time processing
inspired by a novel by Edgar Allan Poes, 2- La nébuleuse de la tour, an electroacoustic
piece based on a graphic partition and performed on guitar and trombone, and 3- Le livre de Thot, for string trio and piano and performed in four movements inspired by four tarot cards. These three pieces are described and analyzed in chapters two, three, and four respectively.
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Grant, Quentin Stuart David. "Portfolio of original compositions." 2008. http://hdl.handle.net/2440/51095.
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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each.<br>http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235<br>Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008