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Guarino, Thomas. "Symphonic Poem (for Orchestra)." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1429641512.
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Genshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.
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Leung, Chi Cheung. "Symphonic Poem "New Life" for Orchestra and Yang-Chin." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500859/.
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Symphonic Poem New Life is a composition in one movement for orchestra and yang-chin. The work is divided into six continuous sections. It is written in resultant form which is a cumulative process by which all major musical elements return at the end of the work. The tritone is the prominent interval used throughout the piece. Some graphic notation is also employed. The work has a performance time of approximately 13-15 minutes. The yang-chin is a Chinese string instrument similar to the Hungarian cymbalon, which is played with a pair of small beaters. These instruments have similar ranges, and either instrument can be used in this work.
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Fry, John Douglas. "Liszt's Mazeppa : the history and development of a symphonic poem." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260449491.
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Mason, David Trent. "Childe Rowland : fairy tale to tone poem : an original composition and analysis /." View online View online, 2010. http://repository.eiu.edu/theses/docs/32211131576040.pdf.
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Price, Wesley. "Under the Spreading Chestnut Tree." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17886.
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This composition is a symphonic poem for full orchestra roughly eighteen minutes in length. The work takes both its title and inspiration from George Orwell's novel 1984. Each individual section of music reflects on a specific scene from the novel, but the sections function as transient and free-flowing "scenes" rather than as distinct movements, and musical material is transferred freely between them over the course of the piece.
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Ingimundardottir, Gudrun. "Heimferðin (The Journey Home): Tone Poem for Symphony Orchestra." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/196137.
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Composers of the 20th century express through intimate and personal language the conditions of the present, utilizing compositional techniques, forms, pitch and rhythmic language, and characteristics of Western composers, as well as looking towards non- Western music for the same. Each musical language, be it tonal, twelve-tone, modal, pitch-class, or derived from folk and non-Western material, is contained in a structural framework which is audibly recognizable, and controls the musical tapestry, processes, and results. Frequently composers use distinctive musical languages to portray different atmospheres, and thus allow each musical language to dominate the texture in order to create the desired contrast. But, jumping directly from one pitch language to another can create a sense of cacophony and loss of cohesion to the composition as a whole. In my composition I intend to show that by superimposing the structural parameters of one musical language onto another, it is possible to attain consistency and coherence, despite the underlying diversity. The composition is based on the story Heimferðin (The Journey Home) by Sigurður Rúnar Þrastarson (1961-1998). The composition is in five movements: I. Dawn; II. Dance and Devotion; III. Frolic; IV. Fury, V. Farwell. Each movement describes particular settings and events of the story. Internal events have been slightly reordered, but otherwise the composition follows the storyline from beginning to end. The final two minutes and twenty seconds of the composition are an original arrangement of a song, written in 1820, by the Danish composer P. C. Krossing (1793-1838).
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Jolley, Jennifer. "Le monde du silence: A Reconsideration of the Symphonic Poem for the Twenty-First Century." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104000.
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Leatherbarrow, James W. "Part I: The Last Dream of Don Quixote: A Symphonic Poem for Saxophone and Orchestra; Part II: Angels and Transformations: Symphonic Unity in Rautavaara, Symphony No. 7, Angel of Light." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1300391009.
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Hannam, William B. "Arnold Bax and the Poetry of Tintagel." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227877436.
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Thesis (Ph.D.)--Kent State University, 2008.Title from PDF t.p. (viewed Dec. 10, 2009). Advisor: Theodore Albrecht. Keywords: Bax, Tintagel, symphonic poem, British music. Includes bibliographical references (p. 207-213).
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Salaberry, Nicolás Ramirez [UNESP]. "Temática indígena nas obras de Heitor Villa-Lobos: Mandú-Çarará." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151593.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta dissertação pretende estudar múltiplos aspectos, presentes no Poema sinfônico Mandú-Çarará de Heitor Villa-Lobos, que possam estar relacionados com determinadas características identificadas na música indígena brasileira tratada por autores significativos, bem como, refletidos nos estudos mais recentes sobre o “elemento indígena” em Villa-Lobos. O Poema sinfônico Mandú-Çarará, que integra o conjunto de obras do compositor com esta temática indígena, foi elaborado a partir de relatos nativos recolhidos por João Barbosa Rodrigues (1890). Na busca por compreender as diferentes narrativas dos textos envolvidos, analisaremos a estrutura morfológica de cada uma delas. Destacaremos também aspectos musicais da obra que possam remeter às manifestações musicais indígenas. Finalmente, será apresentada uma possível relação entre o texto cantado e a música da obra.
This essay intends to study the multiple aspects from Heitor Villa-Lobos's Mandú-Çarará Symphonic Poem, which may be related to certain characteristics identified in Brazilian indigenous music studied by significant authors, as well as reflected in the most recent studies about the "indigenous element" in Villa-Lobos. The Mandú-Çarará symphonic poem, which integrates the composer’s set of works with the indigenous theme, was elaborated from native accounts collected by João Barbosa Rodrigues (1890). In the search to understand the different narratives from the texts involved in the work, we will analyze the morphological structure of each of them. We will also highlight musical aspects of the work that may refer to indigenous musical manifestations. Finally, a possible relation between the sung text and the work's music will be presented.
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Santana, Hermilo Pinheiro. "Aplicação da teoria pós-tonal do poema sinfônico "Na noite"." reponame:Repositório Institucional da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/9087.
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Essa dissertação é resultado de uma pesquisa orientada que teve como objetivo principal realizar uma composição musical e sua respectiva análise. A composição, denominada Na noite, compreende três partes e foi inspirada no poema homônimo de Antonio Brasileiro, autor nascido em Rui Barbosa, Bahia, em 1944. Trata-se de poeta que, em meados da década de 1960, estudou Percussão em curso livre desta Escola de Música, tocou na Orquestra Sinfônica da UFBA e teve poemas de sua autoria musicados por, entre outros, Ernst Widmer e Jamary Oliveira. A composição que se criou é um poema sinfônico estruturado pela Teoria Pós-tonal e sua partitura completa está inclusa. Neste trabalho, há uma contextualização teórica sobre o poema sinfônico, a análise do poema “Na noite” e os procedimentos composicionais da peça.
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Ludden, Paul R. "A song of war and victory : an edition, commentary, and analysis of the 1905 tone poem by Sir Arnold Bax." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343465.
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Many of the musical works composed by Sir Arnold Bax have been studied, edited, and performed in the fifty or so years since his death in 1953. Until recently, several of the earliest symphonic works have remained as original unedited manuscripts tucked away in private collections. This dissertation serves to partially remedy this obscurity by presenting the first edition of the 1905 tone poem, A Song of War and Victory as a practical and working score. It also provides a study comprising commentary, analysis, and a large section devoted to the correction of the many errors in the manuscript. This early work is now available to orchestras, conductors, and scholars in a performance edition. Within the commentary and analysis portions is a comparison study of the other extant early, and interestingly varied, symphonic works, complete with an appendix, comprising a complete edition of the 1904 set of variations aptly titled, Variations (Improvisations). Before this study, Bax's Variations was the only remaining unedited work from the early symphonic complete works. Therefore, this dissertation fills these notable, existing, gaps and completes the exposition of these earliest examples of the composer's work.School of Music
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Couturiaux, Clay. "The Nightingale's Flight from Opera to Symphonic Poem: A Comparative Study of The Nightingale and The Song of the Nightingale by Igor Stravinsky." Thesis, view full-text document, 2000. http://www.library.unt.edu/theses/open/20003/Couturiaux%5Fclay/index.htm.
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Griswold-Nickel, Jennifer Ann. "Hugo Wolf’s Penthesilea: An Analysis Using Criteria from His Own Music Criticism." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1196011316.
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Han, Sang-Eun. "Symphonic Fantasia Han-Kook Oui Ja-Yeon (Nature in Korea): Score and Critical Commentary." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/han%5Fsang-eun/index.htm.
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Blanton, K. Alexander McKenney W. Thomas Andersen H. C. "The little match girl." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6577.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on October 20, 2009). Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.
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Yang, Hon-Lun. "European versus American: Programmatic-formal Treatments in American Symphonic Poems." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36746.
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Smith, Mark Colin. "Folio of compositions." Title page, contents and fanfare only, 2000. http://web4.library.adelaide.edu.au/theses/09MUM/09mums655.pdf.
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Yang, Hon-Lun. "The Politics of Music and Identity. Liszt’s Legacy and Chinese Symphonic Poems." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72011.
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Cormac, Joanne. "Liszt as Kapellmeister : the development of the symphonic poems on the Weimar stage." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3966/.
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Little research has been carried out into Liszt’s work as Kapellmeister of the Weimar Court Theatre. The nature and extent of his duties, his involvement in productions, festivals and performances, and his relationships with others within the administration has yet to be examined in detail, let alone the implications of all of this for his music. This thesis draws on a wealth of primary source material to provide new insight into this area. It begins by drawing a general picture of Liszt’s work in Weimar. Then, it attempts a detailed ‘re-historicisation’ of four of Liszt’s Weimar symphonic poems. The thesis returns four of the symphonic poems (Tasso, Orpheus, Festklänge, and Hamlet) to their original dramatic performance contexts. In doing so, it reveals that the Weimar productions or festivals in which they were premiered had a significant impact on their conception and development in numerous, diverse, and sometimes surprising ways. Accordingly, the findings shed new light on the influence of staged genres, particularly melodrama, on the development of the symphonic poem as a genre. Then the thesis explores the revision of these works in order to trace Liszt’s changing conception of what a symphonic poem might be.
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Howell, Timothy B. "Jean Sibelius : progressive techniques in the symphonies and tone-poems." Thesis, University of Southampton, 1985. https://eprints.soton.ac.uk/380485/.
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As an analytical and critical survey of Sibelius' symphonies and tone-poems, this study is designed to fill a significant gap in the research of this composer which hitherto has been primarily concerned with historical and musicological issues. Those analytical investigations which exist, typically as a supplement to more biographical concerns, have not made use of modern techniques nor are they comprehensive. Beyond this self-evident purpose of processing analytical findings, the thesis aims not only to demonstrate a symposium of Sibelius' compositional techniques but also to give a new perspective to these achievements. The layout and presentation of material has been designed to facilitate this dual purpose, dispensing with a mere catalogue of analyses in favour of grouping their findings into considerations of larger issues. Thus, Part I - 'The Symphonies' - reflects the layered analytical approach to each work in chapters which move from the general to the particular (Style, Form, Tonality, Thematic Process) selecting examples from the entire genre appropriate to each issue. The final chapter in this section concludes by synthesising those areas in a detailed analysis of a single work. Part II - 'The Tone-Poems' - opens with a more general discussion of the two genres in question revealing cChtrasts and consistencies. Thereafter, their survey divides into two apparently chronological sections, though in fact the distinction is a stylistic one and complements internal considerations of the symphonies themselves. The application of reductive, layered analysis appears to be new in this context and its findings reveal a more progressive compositional attitude than has previously been credited to a figure generally viewed as reactionary. Its evidence, notably in the areas of extended tonality and formal compression, suggests an historical placing for Sibelius within twentieth-century musical developments, indicating both his awareness of the problems facing composers of the period and his personal solutions. The final chapter discusses this essentially speculative topic, its more subjective standpoint balancing the analytical objectivity which constitutes the majority of the thesis. Its conclusion is modest: Sibelius as neither reactionary nor revolutionary, but, nevertheless, progressive.
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St, Pierre Kelly M. "Revolutionizing Czechness: Smetana and Propaganda in the Umělecká Beseda." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333472822.
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Anderson, Stephen Reg. "Heart of the Fathers, for Wind Symphony." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2546/.
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Heart of the Fathers is a programmatic, seven movement work for wind symphony depicting my ancestors and their role as part of the history of The Church of Jesus Christ of Latter-day Saints. The movements represent their spiritual experiences, labors, times of joy, persecution, migration, and finally their arrival and success in their new homeland.
The piece is organized in seven movements. Each movement represents a different portion of history leading to the western migration of my ancestors. The programmatic music contains a variety of symbols depicting the experiences of the pioneers.
In the paper, each chapter addresses an individual movement. For each movement, the following information is provided: the historical events that inspired the piece, the musical symbols that characterize the program, and an analysis of the function of the music.
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Mui, Kwong-chiu. "Exploration in new music portfolio of compositions and analysis /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B43894574.
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Mui, Kwong-chiu Tan Dun Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Exploration in new music : portfolio of compositions and analysis /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22132016.
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Thesis (M. Phil.)--University of Hong Kong, 2001.Two sets of recordings included, each in its own container. The first work is for string quartet; the second for bangdi, soprano sheng, yangqin, pipa, guzheng, erhu, gehu and percussion; the third for harmonica quintet, sheng, harp, piano and percussion. "Symphonic poem-Genesis" is for orchestra with piano and celesta. "Ghost opera" is for string quartet and pipa, with water, stones, paper and metal. Includes bibliographical references.
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梅廣釗 and Kwong-chiu Mui. "Exploration in new music: portfolio of compositions and analysis." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894574.
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Kitelinger, Jennifer. "Rediscovering James Robert Gillette's Vistas." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062913/.
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James Robert Gillette (1886-1963) was an early advocate for original wind band music at a time when marches and band transcriptions of orchestral music contributed heavily to the wind band repertoire. Primarily known as an influential, in-demand organist and composer, Gillette became the director of the Carleton College band program in Northfield, Minnesota in 1924. Taking an innovative approach to building, organizing, and programming, Gillette transformed that group into the Carleton Symphony Band and led a wider push for the symphonic band movement. In promoting his ideals of the symphonic band, he composed and arranged music specifically for the Carleton Symphony Band. One of his original works, Vistas, was widely performed and well-received in the decade just prior to and after its publication in 1934. Despite the popularity of the piece at that time, it has since gone out of print and is a rarely performed piece from Gillette's repertoire. This dissertation focuses on Vistas, Gillette's second published tone poem. This study starts with the examination of the history of Vistas from its origins as a movement in Gillette's transcription of Paul Robert Fauchet's Symphony in B-flat to its subsequent transformation and publication as an original work for band. Next, the performance history and reception of Vistas in the United States is traced and described from the year of publication to the present day. Finally, discrepancies present in the 1934 publication of Vistas are addressed through the creation of a performance edition. This performance edition also provides modifications to make the piece more widely accessible to wind bands today and the full score is presented at the end of the study.
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Peré, Matthew R. "Apotheosis : a symphonic poem /." 2009. http://music.louisiana.edu/mm/students.
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陳珊秀. "Symphonic Poem for Full Orchestra & the Idea of This Work." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/36680837864383571394.
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碩士國立交通大學
應用藝術研究所
83
The idea of this composition is inspired by Gariel Garcia Marquez's work "One Hundred Years of Solitude". In this symphonic poem, what I am trying to express is through the act of subtle changing between every section, exphasizing the delicate transformation of different kinds of music essentials, such as texture, rhythm and timbre to construct an imaginative and emotional world. By means of composing the symphonic poem, I make an attempt to plan out an interactive process exploring the inner sense of the novel and the intensely expression of music.
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Chih-Sheng, Chen, and 陳志昇. "The Conducting and Interpretation of Paul Abraham Dukas Symphonic Poem L'Apprenti Sorcier." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/02832140693646372987.
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碩士輔仁大學
音樂研究所
101
Composed in 1897, the symphonic poem L’Apprenti Sorcier was the most famous work of French composer Paul Abraham Dukas. The most classic model of western orchestration, this intricate work vividly expresses Johann Wolfgang von Goethe's ballade with rich colours. It was an important composition during the transition from Romanticism to Impressionism in French music in the late 19th century. Through researches, analysis of the score, comparing of different recordings, and studies of conducting techniques, the writer demonstrates his interpretation of L’Apprenti Sorcier in this thesis, which has led to better understanding of Paul Abraham Dukas's music and the influences of French Impressionism.
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Rival, Robert. "Symphony "Maligne Range"." 2010. http://hdl.handle.net/1807/24379.
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In the summer of 2008, over two days, my wife and I hiked the Maligne Range (Skyline) trail, situated in the Canadian Rockies near Jasper, Alberta. The 45-km trail begins in a pine forest at Maligne Lake but soon rises above the tree line. From there it winds its way across two successively higher mountain passes. In between lies a sprawling meadow speckled with colourful flowers and criss-crossed by glacial creeks. At the halfway point, the trail switchbacks steeply to the very top of the range, a vantage point that affords spectacular views in all directions. But a storm set in just as we reached the peak. Unwilling to serve as lightning rods, we broke out into a run, finding shelter only as the trail drops off quickly on the other side of the range. The breathtaking views, ruggedness and diversity of terrain, whistling marmots and sense of isolation all left a strong impression on me. I was especially delighted to realize that the very topographical contour of the trail provides a basic plan for a large-scale sonata-form structure, one that builds up in waves of tension, culminating in a fierce storm at the top: the development. In a similar vein, after the stormy material subsides (as in Beethoven’s Sixth), the descent, recalling the ascent, but now abridged and in reverse order, serves as varied recapitulation. The result is a one-movement symphony in the tradition of Sibelius’s Seventh and Barber’s First. Essentially tonal, the harmonic language is enriched with polytonal accents, modal alterations, complex chords and the colouristic usage of collections and twelve-tone techniques. Polymetre, multi-stranded canons, metric modulation and controlled aleatoric techniques enliven the rhythmic plane. The work’s structure is organic, developed out of limited yet contrasting thematic material, with all programmatic elements assuming abstract structural roles. The symphony’s bright orchestration and rhythmic vitality is indebted to composers of the modern Russian school; its emotional sweep and extremes, to Shostakovich; the scoring and harmonic content of certain dissonant chords, to Varèse; and its sense of drama and breadth, to Beethoven and Sibelius.
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Ericson, Kaitlin Lee. "Forging a national identity : ideological undercurrents in Smetana's Vltava." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1489.
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Smetana’s Vltava is widely described as a musical depiction of sights and scenes on a journey down the Vltava River that glorifies the river as a defining national landmark. While this understanding of the piece complies with its program and produces a formal and thematic analysis that reveals a general adherence to the conventions of the nineteenth-century symphonic poem, the interpretation only considers the work in isolation and does not account for its most exceptional features. My paper will analyze Vltava in its larger context as a part of the symphonic cycle of Má Vlast to uncover a deeper programmatic significance to the movement’s formal and thematic design, one inextricably bound up with Smetana’s Czech nationalism. The analysis will consider all of the movements of the cycle and their relationships to one another, with particular emphasis on the crucial relationship between Vltava and Z českých luhů a hájů.text
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CHEN, SHIH-CHIEH, and 陳仕杰. "The Research and Interpretation of the Symphonic Poem 《Mu Guiying takes Command》Arr. Guan Nai Zhong." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/47s5s3.
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碩士中國文化大學
中國音樂學系
107
The Pecking Opera, one of the highest drama level in the history of the Chinese performing arts. In 1960, the Chinese symphonic poem《Mu Guiying Takes Command》,which is using materials from Pecking opera was composed by Group of Amateur composers of the Central Symphony Orchestra. After the great debut in the same year, this work was later rearranged or transplanted to Chinese orchestral editions by Chinese composer Guan, Nai-Zhong and Singapore composer Yang,Pei-Xian. The original edition was in the construction of the western form from “Symphonic Poem” and combined the Orchestration and Pecking Opera materials in together. In Guan’s edition, based on the original edition, was more emphasis on the traditional interpretations of the Pecking Opera materials and the Chinese instrumentation and gave this work a whole new interprets. The study focuses on analysis of music construction、historical background、Pecking Opera materials research、 editions comparison and conducting interpretation. Through the researching process, it could be a great help for understanding the artistic value of traditional Pecking Opera and this magnificent work, 《Mu Guiying Takes Command》.
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Llewellyn, Rebecca Ann. "Portfolio of compositions [music] : Rothko's red (orchestral tone poem) ; The portrait : a musical tribute to Stella Bowen (music theatre work) / Becky Llewellyn." 2007. http://hdl.handle.net/2440/47461.
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The portfolio contains two of Becky Llewellyn’s music compositions: an orchestral tone poem and a chamber opera score and libretto created to explore the process of producing a major work of music theatre from conception to performance. In both works, Llewellyn’s research has concentrated on her interest in structure and form between ideas, music and visual art and their relationship to each other. Rothko’s Red The first composition in her submission is her orchestral tone poem, Rothko’s Red, a tribute to US artist Mark Rothko, whose painting techniques questioned traditional forms of narrative and structure. The topographical matrix of Rothko’s Red contains vertical aural space introduced in a ‘keyed up’ range suggesting ‘redness’, gradually deepening until the bass predominates, retaining a widened spaciality at the peak moment. Horizontally, the piece is a long crescendo of extended phrases, at first lightweight, then filling out with each repetition, moving to a full expression of orchestral magnitude, then gradually subsiding. The tone poem passes limited melodies and harmonies around to and within the orchestral families, as if in one colour. Llewellyn’s use of individual dynamics for orchestral players is an experiment in aural equivalence of Rothko techniques, using ‘heard’, not ‘seen’ tone colours. The Portrait: a musical tribute to Stella Bowen Llewellyn’s chamber opera is based on books, letters, diaries and family history research into the life of Adelaide-born writer and painter, Stella Bowen and three other writers. The opera’s libretto is structured as a series of songs reflecting Bowen’s paintings and life story. The chamber opera opens and closes in 1944, with Bowen as a WWII Australian war artist. The opera spans from 1917, when as a London art student, Bowen is introduced to editor/writer, Ford Madox Ford with whom she falls in love. The opera moves through to Paris and Ford’s subsequent love affair with writer Jean Rhys and his death in 1939. The Portrait is an exploration of how we know who we are and how, as artists, we choose to represent those insights. As the four main characters each wrote about themselves and each other, Llewellyn used their distinct content, style and aesthetic concerns to invent their musical and dramatic personae. The Portrait plays with ideas these four artists explored of extended metaphors, a shifting ambiguity in ‘artifice as a real story’, in an imagined dramatic musical work about real artists and writers; life as art and art as life. Among other themes in The Portrait; thanatos and eros, culture and morality, war and peace, fate and choice and opera as portraiture, is an underlying structural theme of time itself. Mythic time is explored as fairytale. Historical time ranges from 1920s chordal and dance motifs back to associations of medieval castles, where western-style Romantic love began. Personal, subjective experience of time is explored by most characters, as is the lack of artistic time given domestic commitments. Objective ‘time as limited’ is explored with Ford’s death and the impending death of the Australian bomber crew. Llewellyn focuses on the timebased art-form of music, while incorporating words, Bowen’s paintings and archival photographs in a chamber opera that explores the potential each art-form carries for revelation.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2007
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Kovářová, Adéla. "Josef Suk: Symfonická báseň Praga op. 26." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338194.
Full textAbstract:
The diploma thesis is concerned with the symphonic poem Praga, Op. 26 composed by Josef Suk in 1904 in need to create a music image of Prague at the turn of the 19th and the 20th century. The thesis deals with the current research and literature situation and it presents Suk as a composer and a musician at the turn of the century. The crucial part of the thesis informs about circumstances of Praga's origin, its premieres, publication and reviews in newspapers at the beginning of the 20th century. It is particularly concerned with the description of the form and the analysis of Suk's composition. In following two chapters, Praga is set into a broader context. The first of them describes the city of Prague and its depiction in artworks at the turn of the 19th and the 20th century. The second contextual chapter discusses Suk's symphonic poem in the connection with the Hussite movement tradition formed at that time and with a Hussite song Kdož jste boží bojovníci (Ye Who Are God's Warriors) infiltrating into the awareness of the cultured and educated society during the 19th century.
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Drvotová, Lucie. "Symfonická báseň ve výuce hudební výchovy na střední škole." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313085.
Full text
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Klasová, Ráchel. "Strukturované drama o Ctiradovi a Šárce jako cesta k pochopení výrazových prostředků symfonické básně." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-337508.
Full textAbstract:
The thesis examines the usage of the method of structured drama in explaining the content of a classical piece of music to pupils on Primary school. In the theoretical part, the arguments which support the combination of artistic domains - Music and Drama - from literacy sources are summarised. The connection is described from the point of view of cross- curricular relations, the activity basis of these domains and the similarities between them. The musical content is also analysed. The thesis focuses also on the used method, especially its goals, techniques and topics used on the Primary school. The research section describes hypothesis, methodology, preparation, realization and the results of an experiment, on several Primary schools. Experimental groups where introduced to the content of the B. Smetana's symphonic poem Šárka by structured drama. Control groups were familiarized with it only by reading and verbal explaining. The focus of the experiment was to compare the understanding of the content between these groups. Key words Structured drama, tale about Ctirad and Sarka, symphonic poem, B. Smetana, understanding, realization, Primary school, cross-curricular relations, listening.
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Lin, Tzu-yin, and 林姿吟. "A Study of Dvořak’s Four Symphonic Poems on Erben’s Ballad Kytice." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/73417410174471994677.
Full textAbstract:
碩士國立中山大學
音樂學系研究所
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In the 1890s, Antonin Dvořak created five symphonic poems, respectively The Water Goblin、The Noon Witch、The Golden Spinning Wheel、The Wild Dove、A Hero''s Song. The first four poems originated from Erben’s prosody anthology, Dvořak present the personality of the roles by using Czech rhyme and characters features, and successfully promote the development of plot by adding the realism sound effects with poems content. According to the unique narrative poem, it presents the original by using succeed verse to verse faithfully. In addition to the introduction and conclusion in this study, it contains three main chapters. The Chapter 1 is discussed in detail for “the creation course and nationality about Dvořak”, “Symphonic poem of the 19th century”, “narrative poem and ballade” and four symphonic poems according to Erben anthology respectively. Chapter 2 focuses on the careers and brainchild of Erben, and the writing concept about Kytice. The chapter 3 is base on the created years of the four symphonic poems to know the narratives of Dvořak by investigating the creative concept and the process of composition.
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Fallon-Ludwig, Sandra J. "Religious, philosophical, and social significance in the symphonic poems of Franz Liszt /." 2010.
Find full text
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"Dialects in music, an innovative idea: a study of Franz Liszt's symphonic poems." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5887074.
Full textAbstract:
by Li Chi Man.Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.
Includes bibliographical references (leaves 134-137).
PREFACE --- p.iii
Chapter Chapter One --- PROLOGUE- THE CLASSICAL AND ROMANTIC STYLES --- p.1
Chapter Chapter Two --- THE CONCEPT OF DIALECTICS AND TRANSCENDENCE --- p.9
Chapter Chapter Three --- STUDY OF FRANZ LISZT'S SYMPHONIC POEMS --- p.15
Les preludes (1848) --- p.18
Ce qu'on entend sur la montagne (1848-9) --- p.27
Tasso: lamento e trionfo (1849) --- p.38
Heroide funebre (1849-50) --- p.47
Prometheus (1850) --- p.55
Mazeppa (1851) --- p.63
Festklange (1853) --- p.71
Orpheus (1853-4) --- p.79
Hungaria(1854) --- p.86
Hunnenschlacht (1857) --- p.95
Die Ideale (1857) --- p.103
Hamlet (1858) --- p.112
Von der Wiege bis zum Grabe (1881-2) --- p.120
Chapter Chapter Four --- EPILOGUE - SOME OBSERVATIONS --- p.128
BIBLIOGRAPHY --- p.134
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"A portfolio of music compositions." Thesis, 2013. http://library.cuhk.edu.hk/record=b5549254.
Full textAbstract:
這作品集共有三首作品：“謎語 I, 110806“ 為四個家居電話而作, “ 影。空“ 一首電子音樂作品, “交響詩“ 為管樂團而作我嘗試在作品集當中運用一些以前我並不經常使用的作曲概念、作曲技巧，及配器法和一些樂器組合，以致我可以創作一些突破我以往風格的作品。以上三首作品都屬於不同類型，也有作不同的特質；樂曲順著創作日期先後而排列。我嘗試在 “謎語 I, 110806 和 “影。空 這兩首較早期的作品中實驗一下當時對我而言是創新的樂曲種類和作曲技巧。較近期的作品“交響詩是為管樂團而作。因為我學習圓號多年，所以這是我最熟悉的樂曲類型。
“謎語 I, 110806“
這是一首為四個電話而作的實驗性作品，藉此表達出我們每天都在經歷充滿戲劇性的人生。電話可以產生出脈衝和音頻聲響，無疑是一件樂器。其實很多圍繞著我們的事物都可以用來創作音樂。我為這首樂曲的演出預先預備了一些錄音以在樂曲中特定的時間播出。演奏者可以按他們自己的喜惡以其他錄音代替。
“影。空“
這是一首揉合電子合成器所產生的電子音效和真實錄音的電子音樂作品。創作靈感來自<聖經>的<傳道書>，我特別是被當中認為人生在世一切都如捕風捉影所觸動。我在音樂中使用了風聲作為一固定反復的樂句以貫穿全曲。有此作為一個無間斷的承托部分令到一些不可能在真實樂器演奏中發生的細緻音樂元素可以在這首樂曲中呈現。
“交響詩“
這首樂曲的最大特點是我選擇在這首管樂團作品中運用了豎琴和馬林巴琴的二重奏。樂曲起始是一些精簡又有著強烈對比的樂段，這些樂段在樂曲較後部分融合一起，並發展成一長樂段。我在樂曲中主要著意於創造優美的旋律，當中蘊含著不規則的分句，卻不影響樂曲本身的流暢性。
This portfolio consists of three pieces: Enigma I, 110806 for four domestic telephones, In Vain Like A Shadow an electronic piece, A Symphonic Poem for concert band
In my portfolio, I have attempted to use the compositional concepts and techniques, as well as orchestration and instrumentation method that were unfamiliar to me before, so as to ensure that I was writing works that would stretch beyond my usual musical tendencies. The three pieces in my portfolio all have distinctive styles and genres; each will be presented chronologically according to its completion date. In my two earlier pieces, Enigma I, 110806 and In Vain As A Shadow I wish to experiment with the genres and techniques that were new to me at the time. The most recent work, A Symphonic Poem, is composed for concert band. It is the genre that I am most comfortable and familiar with, owing to my years of training on the French horn.
Enigma I, 110806
This is an experimental piece composed for four domestic telephones. This came out of my idea of creating a work that would enable music to express the drama we encounter in our daily lives. The telephone is no doubt a musical instrument--it can generate pulses and pitched tones. In fact, many objects that surround us can be used to create music. For the performance of this work in the past, I have prepared some pre-existing recorded sound tracks that can be played alongside at particular moments in time. However, those who wish to make their own sound tracks to substitute mine for the performance are welcome to do so.
In Vain As A Shadow
This is an electronic piece that combines recorded live sounds with effects that are produced by a synthesizer. While composing this work, I was inspired by the book Ecclesiastes from the Holy Bible; in particular, I was struck by the part about how the life of a man is a vanity. In my music, I have used a drone-like ostinato that permeates throughout the entire work. Using this as the long, seamless foundation of my piece, while delicate gestures are introduced up above, is something that would have been impossible if only acoustic instruments are used.
A Symphonic Poem
What is most unusual in this work is probably my choice to feature a duet for harp and marimba within a wind band. This piece begins with a few short, contrasting sections that are later combined with one another, and eventually grow to become one long stretch. Much of my attention in working through this piece has been focused on creating beautiful melodic lines that have irregular phrasings, yet will not interfere with the continuous musical flow.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Cheng, Ming Hin Henry.
"December 2012."
Thesis (M.Mus.)--Chinese University of Hong Kong, 2013.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese.
Volume I:
Cover Page
Content Page
Acknowledgments --- p.i
Abstract --- p.ii
Enigma I, 110806 --- p.1
In Vain As A Shadow --- p.8
Volume II:
Cover Page
A Symphonic Poem --- p.1
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Star, Allison. "Beethoven poet: Hector Berlioz's "A critical study of Beethoven's nine symphonies" at the crossroads of French Romanticism." Thesis, 2011. http://hdl.handle.net/1828/3662.
Full textAbstract:
In attempts to take a step towards illustrating Berlioz's musical aesthetic, my dissertation explores his "Critical Study" as his manifesto of the new poetic in music, which uses Beethoven's symphonies as models. First published in 1844, his "Critical Study" is a collection of individual essays on each of Beethoven's nine symphonies - the most widely known version of these essays originally published in the Revue et gazette musicale de Paris in 1837-8. This collection of essays derives from a reworking of Berlioz's earliest articles on Beethoven (1829-37), notably his reviews of a new concert series at the Societe des concerts du Conservatoire that premiered Beethoven's symphonies in Paris. Almost ten years in the making, Berlioz's "Critical Study" represents the pinnacle of his writings on Beethoven. Here he promotes Beethoven's "romantic" symphonies as models of "poetic" forms, within the context of emerging French literary Romanticism. I examined some of the key components in Beethoven's music that most occupy Berlioz as critic and, in turn, how Berlioz as composer develops these key components in his own contribution to the symphonic genre - his Romeo et Juliette (1839), composed at the peak of his Beethoven study. Ultimately, I hope to have demonstrated that the subtle mixture of the musical, the poetic, the critical pedagogical, and the cultural that intersect in Berlioz's Romeo et Juliette exemplifies the same aesthetic of the poetic that he promotes in Beethoven's symphonies.Graduate
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"A portfolio of music compositions." 2009. http://library.cuhk.edu.hk/record=b5896608.
Full textAbstract:
《紙・驚》與《鼓・箏》 : 褐紫紅色 : 自《彩露》 : 為京腔女中音、中國大鼓和古箏而寫的雙樂章作品 = "Paper. Jolt" and "Gu. Zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-Zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu Zheng, and Percussion (suspended cymbal and vibraphone) = 青瓷色: 自《彩露》: 為降B單簧管, 古箏與敲擊(弔鈸及鋼片琴)而寫 -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet."Zhi, jing" yu "Gu, zheng" : he zi hong se : zi "Cai lu" : wei jing qiang nü zhong yin, Zhongguo da gu he gu zheng er xie de shuang yue zhang zuo pin = "Paper, Jolt" and "Gu, zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu zheng, and Percussion (suspended cymbal and vibraphone) = Qing ci se : zi "Cai lu": wei xiang B dan huang guan, gu zheng yu qiao ji (diao ba ji gang pian qin) er xie -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet.
Lee, Kar Tai.
Durations: 8 min.; 4 min.; 4 min.; 10 min.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2009.
Abstracts in English and Chinese.
Cover Page --- p.i
Abstract --- p.ii
Acknowledgements --- p.iv
Table of Contents --- p.iv
"""Paper. Jolt “ and “ Gu . Zheng""《´紙Ø驚》與《´鼓Ø箏》" --- p.1
Carnival《嘉年華》 --- p.18
Celdaon《青瓷》 --- p.35
"Prelude, Passacaglia and Fugue《前奏、巴沙加牙和賦格曲》" --- p.48