Dissertations / Theses on the topic 'Suites (piano) Suites (piano)'
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Brendt, Norbert. "Die Klaviersuite zwischen 1850 und 1925 /." Kassel : G. Bosse, 1997. http://catalogue.bnf.fr/ark:/12148/cb369650335.
Full textErickson, Clipper. "The six piano suites of Nathaniel Dett." Thesis, Temple University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623149.
Full textThe six piano suites of R. Nathaniel Dett (1882-1943) constitute a substantial body of piano music that illustrates the musical development of an important, but historically neglected American musician. Dett was a seminal figure in the preservation and study of spirituals, both as a writer and choral leader, and as a great teacher and inspirer of African-American musicians in the generations that followed him. Educated at Oberlin and Eastman, he was lauded as the first American composer to fuse Negro folk music with European art music tradition.
The writing of a series of like-genre works over a composer's lifetime, reflecting stylistic changes and a deepening world view, is a special event in the history of keyboard music. Unfortunately, Dett's piano music is rarely performed except for the second of the suites, In the Bottoms. Although his importance to African-American musical history is generally acknowledged by musicologists, his works for piano have remained largely unexplored by performers.
Dett's eclectic pursuits included poetry, the Rosicrucian Society, and religion. This study explores the connections between the suites and other musical styles and traditions, Dett's many extra-musical interests, and his performing life. It also offers some possible explanations for the relative lack of attention received by his piano music.
This study incorporates research from readily-available sources, as well as the Nathaniel Dett archives at the Niagara Falls New York Public Library and Hampton University. The first three chapters give an overview of Dett's style and influences, as well as a description of how his musical language developed from his first suite, Magnolia (1912), to his last, Eight Bible Vignettes (1941-43), written at the end of his life. Each suite is examined individually in detail in the following six chapters. It is hoped that this work will stimulate appreciation of Dett's piano music and lead to more frequent performances. Its goal is to give to the reader the same sense of admiration and joy that the author's exploration of these works has given him.
Peng, Wenjuan. "Complete solo piano suites by Rodion Shchedrin." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6246.
Full textSansbury, Sally Liew. "The Xinjiang piano suites of Shi Fu." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180495584.
Full textCohen, Marcos Jacob Costa. "Suite for piano and chamber orchestra /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422346.
Full textAraujo, Filho Alfeu Rodrigues de. "Estudo analitico e interpretativo sobre as tres suites brasileiras de Oscar Lorenzo Fernandez." [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284306.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa consiste inicialmente em um levantamento histórico sobre a vida do compositor ( conteúdo biográfico), seguido de um estudo sobre o movimento nacionalista, detectando as principais influências que o mesmo exerceu na formulação das Três Suítes Brasileiras. O enfoque analítico ressalta o aspecto formal; delimitação das idéias musicais ( linhas de fraseado ) ; estruturas harmônicas; construção rítmica; raciocínio simétrico; pedalização ; dinâmica e a possível relação do título com o procedimento musical, utilizando como referencial teórico a " Structural Hearing : Tonal Coherence in Music " de Felix Salzer ; " Fundamentos da Composição Musical" de Arnold Schoenberg e " The Analysis of Music " de John White . O trabalho interpretativo foi desenvolvido com respaldo na análise realizada, buscando, como resultado final, a decodificação do discurso musical. O quadro conclusivo baseou-se em um estudo comparativo entre as Três Suítes Brasileiras, enfatizando o desenvolvimento do processo criativo do compositor em questão, assim como, posicionando as mesmas no contexto das obras pianísticas
Abstract: Not informed.
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Mestre em Artes
Lee, Chen-Tien. "Mussorgsky's Pictures at an exhibition : an analytical and performance study /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187906733.
Full textHoward, Jason Tad. "Part I: A Nighttime Trilogy for Saxophone and Piano Part II: A Schenkerian Analysis of Suite No. 1 for Unaccompanied Cello by J. S. Bach." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279403848.
Full textKim, Na Young. "An analysis of and performance guide to Lou Harrison's Suite for Piano and Kenneth Leighton's Six Studies: Study-Variations Op. 56." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1077734895.
Full textTitle from first page of PDF file. Document formatted into pages; contains xv, 151 p.; also includes graphics (some col.). Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center
Pinto, Antonio Carlos Neves. "Uma analise musical do Batuque da suite orquestral Reisado do Pastoreio de Oscar Lorenzo Fernandez." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284015.
Full textAnexos: 2 CD-ROM
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este projeto tem por principal objetivo apresentar uma possibilidade de execução para a música sinfônica de influências afro-brasileiras, muito pouco explorada pelos nossos intérpretes. Para tanto foi escolhida, especificamente o "Batuque" da Suíte "Reisado do Pastoreio" do compositor Oscar Lorenzo Fernândez, uma das obras brasileiras de maior riqueza musical e reconhecimento no cenário internacional. Esta pesquisa tem como justificativa a contribuição para o enriquecimento da bibliografia técnica brasileira em práticas interpretativas e também da discografia, através de dois Cds que acompanham esta dissertação, uma vez que faltam materiais de suporte disponíveis para o estudo deste gênero musical. A metodologia constou de: leitura de bibliografia especifica para um estudo das origens do termo batuque, as características das práticas musicais e de danças dos negros afro-brasileiros desde o período colonial, suas transformações até as primeiras décadas do século XX, em seguida um paralelo com a trajetória do compositor e sua produção musical, uma análise formal, uma análise interpretativa e comparativa com mais duas execuções distintas desta peça. Entre os resultados obtidos, contam-se a aplicação de conhecimentos teóricos na prática interpretativa; a contribuição para maior entendimento deste repertorio especifico assim como abertura para uma nova perspectiva à pesquisa musical; além de fornecer material útil para o ensino de música de câmara e de prática orquestral
Abstract: This research had the main object to present a possibility of performing the Brazilian symphonic music formed by afro-Brazilian influences, very little explorered by our performers. For that, was chosen particularly the "Batuque" from Suite "Reisado do Pastoreio" composed by Oscar Lorenzo Fernandez, one of the Brazilian woks full of musical richness and recognition at the international environment. This research had as justification, the contribution for the enrichment of the Brazilian technical bibliography in performing practices and discography through two CDs which join the dissertation, once that there is a lack of support material for the study of this kind of music. The methodology, at first, has consisted of the reading of particularly bibliography about the genesis of the term batuque and the characteristics of the musical practices and the dances of the afro-Brazilian Negroes since the colonial period until their changes during the first decades of the twentieth century. After that a parallel was described between the composer's path and his musical production. At last one formal analysis was made of Lorenzo Fernandez's batuque and one performing and comparative analysis was made between our performance and two different others of this piece. The results of this research showed that the theoretical knowledges were applicable at the performance practice and the contribution for the greatest comprehension of music with afro-Brazilian influences; opening a new perspective for musical research besides making available useful material for teaching chamber music and orchestral music
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Mestre em Artes
Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.
Full textSaldanha, Leonardo Vilaça. "Elementos estilisticos tipicamente brasileiros na "suite pernambucana de bolso" de Jose Ursicino da Silva (Maestro Duda)." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285114.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Maestro José Ursicino da Silva é um dos principais compositores e arranjadores do estado de Pernambuco, cuja riqueza musical é vasta e reconhecida em todo o Brasil. Este trabalho analisa a obra "Suíte Pernambucana de Bolso ", do Maestro Duda, identificando nela elementos característicos da música popular brasileira. O estudo parte de um apanhado biográfico do autor, apresenta os gêneros musicais utilizados na peça e conclui-se com uma análise da partitura propriamente dita
Abstract: José Ursicino da Silva, "Maestro Duda", is one of the most important composers and arrangers in Brazil. He was bom and lives in Pemambuco, a state in Brazil where musical culture is very rich and well-known. This work is an analysis of Maestro Duda' s composition entitled "Suíte Pernambucana deBolso", with the purpose of identifying typical elements of Brazilian popular music. There is also a short biography of the composer and a study about all the Brazilian rhythms used in the piece. The work is concluded with a musical analysis of the score
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Mestre em Artes-Musica
Ruppe, Elizabeth Ambler. "Form and tonality as elements of neoclassical style in two works by Jean Francaix: Divertimento pour flute et piano (1955) and Suite pour flute seule (1963) with three recitals of selected works of Mozart, Widor, Feld, Muczynski and others." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278680/.
Full textKruger, Esthea. "An analysis of Priaulx Rainier’s Barbaric Dance Suite for piano." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1883.
Full textPriaulx Rainier (1903-1986) was a South-African born composer whose highly original compositional style attracted great attention during her lifetime. She spent most of her life in England, but was inspired by the images and recollections of her youth in Africa. Despite the critical acclaim she received, little research has been done about her, both in South Africa and abroad. Additionally, the nature of existing sources is mostly not analytical, but rather provides an overview of her life or general aspects of her style. Although some conclusions have been drawn about her compositional style, they are not thoroughly substantiated by concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often linked by authors to the “African” element of her idiom), with an evident disregard of the other aspects of style, most notably with regard to pitch coherence. This research attempts to correct this unbalanced discourse by analysing one of her few solo piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch relations, similarities and contrasts. The rationale for selecting this specific work originated from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the three DANCES, their structural embryo is, on a small scale, the basis for most of the later works.” Although the scope of the research did not allow for a comparative analysis, it is strongly believed that the conclusions reached in this study could also be applicable to many of Rainier’s other works, especially of the early period. The study consists of an introduction in which the Barbaric Dance Suite is contextualised, followed by the main body of the thesis that consists of a detailed analysis of each of the three movements. The foremost method of analysis used is set theory analysis, which could be briefly described as a method whereby (particularly atonal) music is segmented and categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch, traditional methods of analysis are employed to examine the other musical parameters. In the conclusion, the analytical results are contextualised with regard to existing pronouncements on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical system in Rainier’s music. The many complex pitch relations that were discovered by the intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in other works could lead authorities to revise the insistent pronouncements on her rhythmic use in favour of a more balanced assessment of all aspects of her compositional style.
Orsi, Ivana Paris. "Pequena suite de Villa-Lobos : transcrição para viola e piano." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284150.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho transcreve para viola e piano Pequena Suite, escrita originalmente para violoncelo e piano por Heitor Villa-Lobos. Está dividido em quatro partes: INTRODUÇÃO, J}ANÁLiSE, 2)TRANSCRIÇÃO e CONCLUSAO. A Introdução da uma rápida explanação sobre o papel das transcrições no repertório violístico e expõe o plano do trabalho. A Análise toma contato com a estrutura da Suite em seus aspectos micro, médio e macro e depois, através de um Estudo, tira conclusões unindo os três níveis estruturais; logo após, uma síntese aborda os aspectos melódicos, rítmicos, harmônicos e timbrísticos presentes em Pequena Suíte. A Transcrição apresenta seus principais impasses e soluções (através da análise), objetivos didáticos das peças e regras de interpretação, bem como sugestão dededilhados e arcadas. A Conclusão é a partitura completa (piano e viola) mais a parte do solista (viola) para a utilização dos instrumentistas
Abstract: This work transcribes for viola and piano Pequena Suite, written originally for violoncello and piano by Heitor Villa-Lobos. It is divided into four parts: INTRODUCTION, 1) ANALYSIS, 2) TRANSCRlPTION and CONCLUSION. The Introduction gives a brief explanation about the role of transcriptions in viola' s repertoire and exhibits the work's plan itself. The Analysis brings to focus the Suite's structure in its micro, middle and macro aspects; a Study offers conclusions uniting the three structural levels; afterwords, a Synthesis approaches the aspects of melody, rhythm, harmony and sound in Pequena Suite. The Transcription presents its main problems and solutions (through analysis), didactical objectives of the pieces and interpretative suggestions including fingerings and bowings. The Conclusion is the complete music itself, including the viola and piano score and an independent solo viola part as well
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Mestre em Artes
Hsieh, I.-Hsuan. "Twentieth-century arrangement for cello and piano Igor Stravinsky's Suite Italienne /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1122475757.
Full textCho, Soyoung. "Interpretive issues in performing the piano suite "Goyescas" by Enrique Granados." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1211936686.
Full textAdvisor: Miguel Roig-Francoli. Title from electronic thesis title page (viewed Sep.9, 2008). Includes abstract. Keywords: Granados; Goyescas; Interpretation; Performance. Includes bibliographical references.
Kim, Kunwoo. "Korean dance suite for piano by Young Jo Lee an analysis /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/748.
Full textPassley, Oscar O. "Claude Bolling’s Toot Suite for Trumpet and Jazz Piano: a Performance Guide." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149650/.
Full textHeidrich, Adriano Figueiredo. "O ressurgimento da suíte para teclado na segunda metade do século XIX e início do século XX." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-26102010-164921/.
Full textWith the development of this work is intended to demonstrate the resurgence of the suite in mid-nineteenth century and subsequent implementation at the beginning of the twentieth century, from the suite for harpsichord of the eighteenth century. Tried to verify the formal and stylistic influence of gender in baroque schools later, and the role of the suite revisited, as reference pieces in the pianist repertoire. Historical background and socio-cultural fashion and style in question, as well as the importance in this kind for the Romantic repertoire and their influences in schools later. Formal and stylistic comparison between the Baroque suite and the suite of the second half of the nineteenth and early twentieth century, and also illustrative analysis with works of the genre. The suite of the second half of the nineteenth and early twentieth century played a key role in the disruption, by the nationalist composers, with the paradigms in German music.
Murdock, Mary H. "The Many Facets of Shostakovich's Suite for Voice and Piano, Op. 143." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/314632.
Full textManno, Terrie L., and Terrie L. Manno. "Enrique Granados' Transformation of the Goyescas Piano Suite into the Opera Goyescas." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624864.
Full textBakradze, Nino, and Nino Bakradze. "A Study of Otar Taktakishvili’s Piano Suite: The Influence of the Georgian National Instruments Salamuri, Chonguri, Panduri, Duduki, and Doli." Diss., The University of Arizona, 2018. http://hdl.handle.net/10150/626620.
Full textSchmidt, Kathryn. "Enrique Granados' piano suite Goyescas: Los Majos Enamorados - a narrative interpretation in light of his Tonadillas for voice and piano." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/38564.
Full textHSIEH, I.-HSUAN. "TWENTIETH-CENTURY ARRANGEMENT FOR CELLO AND PIANO: IGOR STRAVINSKY'S SUITE ITALIENNE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122475757.
Full textLewis, Lisa Michele. "Twelve nouvelle impressions : historical and cultural factors relating to the performance of Isaac Albeniz's Iberia Suite /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11222.
Full textda, Silva Filho Adejardo Francisco. "Shoshonitic and ultrapotassic intrusive suites in the Pianco-Alto Brigida Belt, Pernambuco State, Brazil." Thesis, Imperial College London, 1989. http://hdl.handle.net/10044/1/47661.
Full textRedford, John Robert. "The application of Spanish folk music in the piano suite "Iberia" by Isaac Albeniz." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186710.
Full textWang, Xiaoxi. "The Spanish music in China: a cross-culture analysis of Granados piano suite Goyescas." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22579.
Full textEste trabalho tem como principal objetivo a criação de uma performance que espelhe o cruzamento de duas culturas distintas: a espanhola e a chinesa. Através da Suite de Piano Goyescas, de Granados, concretizarei uma pesquisa que realizará o cruzamento destas duas culturas, tanto a nível histórico e social, como estético e musical. Sendo uma pianista de nacionalidade Chinesa, a estudar música em contexto europeu, tive a oportunidade de contactar com uma nova perspetiva da criação musical. Este facto, bem como o contacto mais direto com a cultura ocidental, e a espanhola em particular, revelaram-se para mim bastante importantes, constituindo-se objetos de investigação futura e que desejo muito espelhar na minha prática musical. Estes factos permitiram-me ainda desenvolver uma outra perspetiva sobre a obra de Granados, uma perspetiva que tem por base a minha leitura do seu trabalho. Para conseguir transmitir o seu pensamento e interesses musicais a um público que na grande maioria dos casos desconhece a sua obra e a cultura espanhola em particular, foi feito um estudo profundo da sua linguagem estética e musical. Do ponto de vista metodológico foi realizada uma pesquisa bibliográfica, diversas entrevistas a pianistas de diferentes países e uma análise da obra. Por outro lado, senti que era importante construir a minha interpretação de Goyescas. Para o facto, desenvolvi uma performance baseando-me na análise da sua linguagem musical, disponibilizando materiais de discussão a outros pianistas, chineses ou não, aquando de futuros estudos acerca desta temática. Foi ainda realizado um estudo aprofundado das técnicas de composição de Granados, procedendo-se ainda à análise do temperamento espanhol da obra e da sua relação com as pinturas de Goya. Acredito que o propósito deste trabalho não será apenas o de transmitir a música de Granados e as suas criações através da performance em palco, mas também o de encontrar um método que ajude pianistas da minha geração a compreender melhor a música deste compositor e, consequentemente, a tornar a música espanhola gradualmente mais reconhecida e presente nos reportórios de pianistas, nomeadamente os de nacionalidade chinesa.
This work aims to do cross-cultural research on the socio-historical, musical and performing aspects of Granados’ piano suite – Goyescas. As a Chinese pianist studying music in a European context, I was able to come into contact with a new perspective of music which I desire to study. At the same time, a distinct position in relation to Granados’ works was taken in the scope of my personal and psychological judgement of his works. In order to express Granados’ musical thoughts, as precisely as possible, to the Chinese audience, a deepened awareness of the musical language and musical imagination of Granados’ works was undergone. This work was supported by bibliographical research, interviews with pianists from different countries, and my personal performing experiences. I felt that it was important to include my personal interpretation, to discuss the playing experience provided to Chinese pianists for their future studies of this music, based on the analysis of Granados’ musical language. To accomplish this, his composing techniques, the Spanish temperament of Goyescas and its relation to Goya’s painting was also relevant to my study. It is my belief that the significant propose of this work is not only to transmit Granados’ music and his notions through performing on the stage for the audience, but also to find a method which helps pianists of my generation to better understand Granados’ music, and consequently, make Spanish piano music become gradually more recognized in the repertoires of Chinese pianists.
Chang, Joanne Chew Ann. "The Cycle of French Piano Duets: Gabriel Fauré's Dolly Suite, Op.56, Claude Debussy's Petite Suite, and Maurice Ravel's Ma mère l’Oye." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335892158.
Full textShook, Hannah M. Widor Charles Marie. "An orchestration of Charles-Marie Widor's Romance (from Suite for Flute and Piano, Op. 34) /." Connect to online version, 2006. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/160.pdf.
Full textVidal, Adolfo C. "Antonio Lauro: An Analytical Study and Piano Transcriptions of his Suite Venezolana and Eight Waltzes for Solo Guitar." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/235.
Full textBuckley, Christopher. "A Performance Guide for Pearls I and Pearls II by Roland Szentpali." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31521/.
Full textLucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.
Full textMendes, Helvio Monteiro 1985. "Suite para xilofone e piano de Osvaldo Lacerda : um estudo interpretativo e levantamento histórico do instrumento no Brasil." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285224.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação realizou um estudo interpretativo sobre a peça intitulada Suíte para Xilofone e Piano, composta em 1974 por Osvaldo Lacerda, sendo essa a primeira obra no Brasil que eleva o xilofone a um caráter de instrumento de destaque para além do plano orquestral, em duo com piano. Esse estudo interpretativo se baseia na linguagem estética da música nacionalista em que o compositor está atrelado, bem como em outros fatores ligados à análise dos elementos musicais da peça, e discute as decisões interpretativas tomadas e a solução de problemas técnicos instrumentais presentes na obra. Adicionalmente, o estudo sobre a obra serve como pano de fundo para a realização do levantamento histórico do xilofone no Brasil
Abstract: This work intends to perform an interpretative study on Suite for Xylophone and Piano, by Osvaldo Lacerda, composed in 1974. This piece is the first suite written for xylophone in Brazil that elevates this instrument from the orchestral role to a piano duo. The interpretative study is based in nationalist musical¿s aesthetics language, in which the composer was inserted, as well as the analysis of the musical elements of the work, and discusses the interpretative decisions and the solution of technical issues along the piece. In addition, this study serves as background for a historical survey about the xylophone in Brazil
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Praticas Interpretativas
Mestre em Música
Oh, Joo Young. "An Introduction to Selected Character Pieces for Piano by Robert Muczynski." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596103.
Full textYang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16097/.
Full textInman, Michael V. "An examination of Beethoven's Sonata for piano and violoncello, Op. 5 No. 1, Boccherini's Concerto in B-flat Major for cello, Bach's Suite no. 3 for unaccompanied Violoncello in C Major, and Inman's Suite for Unaccompanied Violoncello in C-sharp Minor." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/866.
Full textWebb, Timothy. "Part I The Samson Suite for Chamber Orchestra. Part II The Provocative Prokofiev: Analysis of Moderato Movement Sonata for Flute and Piano in D Major, Opus 94." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1280337287.
Full textMeixner, Brian Daniel. "A pedagogical study and practice guide for significant original euphonium solo compositions for the undergraduate level student." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3939/.
Full textTan, Sok-Hoon. "The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6046/.
Full textAlonso, Orlay. "Illuminated Scores and the Architectural Design of Musical Form." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429802524.
Full textKim, HoChung. "Selected works from character pieces in the 19th-early 20th centuries." 2005. http://hdl.handle.net/1903/9755.
Full textKang, Jin-Young. "Resonance and dissonance in contemporary impressionistic music /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546.
Full textTypescript. Includes bibliographical references (leaves 52-53). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546
Hsu, Chien-Tai. "Compositional traditions and innovations in violin literature the twentieth century and beyond /." 2005. http://hdl.handle.net/1903/9753.
Full textKim, Min Jung Sinaisky Ilya. "The virtuoso violinist as composer from the Baroque period through the 20th century compositional insights and innovations." 2007. http://hdl.handle.net/1903/9727.
Full textHan, Minna Sungmin Hong Jee-eun Chang Kai-Ching. "Music relating to death its musical value and reflection of diverse images." 2007. http://hdl.handle.net/1903/9725.
Full textHare, Belva Jean. "The uses and aesthetics of musical borrowing in Erik Satie's humoristic piano suites, 1913-1917." Thesis, 2005. http://hdl.handle.net/2152/2441.
Full textRosado, Sara Yong. "From Brahms to the second Viennese school." 2005. http://hdl.handle.net/1903/9749.
Full textKnobel, Bradley James Bach Johann Sebastian Jones Evan Allan. "Bach cello suites with piano accompaniment and nineteenth-century Bach discovery A stemmatic study of sources /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-04052006-171445/.
Full textAdvisor: Evan Jones, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-3-07). Document formatted into pages; contains 361 pages. Includes biographical sketch. Includes bibliographical references.