Relevant bibliographies by topics / Symphonies

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Symphonies'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 June 2025

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Journal articles on the topic "Symphonies"

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Serov, Iurii Eduardovich. "Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1." PHILHARMONICA. International Music Journal, no. 5 (May 2021): 11–22. http://dx.doi.org/10.7256/2453-613x.2021.5.36784.

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The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9.  The author considers in detail such aspects of the topic as Tishchenko’s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large orchestra compositions, the significant impact of literary concepts on the development of his symphonism. Special attention is given to Tishchenko succeeding to the great Russian symphonic tradition. The main idea of the article is that Tishchenko is one of the few in his generation who remained committed to the genre of a large “pure” symphony and succeeded to his genius teacher D. Shostakovich. A special author’s contribution to the development of the topic is a detailed consideration of all symphonic works by Tischenko. Such a research has never been held in the history of Russian music before. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonism with his time and the controversial cultural and social processes suffered by the composers of the sixties.  
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Nagina, Dana A. "The genre of concert symphony in the works of Haydn and Mozart." Contemporary Musicology, no. 3 (2019): 2–23. http://dx.doi.org/10.56620/2587-9731-2019-3-002-023.

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The article focuses on the concert symphony (fr. symphonie concertante, it. sinfonia concertata) – a classical music form which remains little studied in Russian musicology – as is exemplified in the works of Joseph Haydn and Wolfgang Amadeus Mozart. The study raises three questions crucial for the history and theory of the genre. First, the article analyses the development of ideas about concertante as well as relevant terminology. Reference books and scientific works of the 18th-early 21st centuries provide different points of view on the genre. Some highlight its symphonic nature, while others take a middle position or lean toward its concert-related aspects. Second, the article analyses different models of concert symphonies shaped in different regional traditions. The study has allowed to distinguish two mainstream lines of genre development – German and French (C. Stamitz and A. Stamitz, C. Cannabich, J.B. Davaux, G. Cambini, F. J. Gossec, and others), and Austrian (J. Haydn, C.D. von Dittersdorf, W.A. Mozart, I. Pleyel, F.A. Hoffmeister, L. van Beethoven, and others). In both traditions, concert symphonies are generally cyclic orchestral works with elaborated parts for two or more solo instruments. They are often marked by virtuoso cadences in one or several movements as well as a major tonality and cheerful festive mood. However, in many aspects Austrian concert symphonies differ from German and French ones. The article examines the features of Austrian concertante (the third aspect of the research) based on the evidence from concert symphonies and concerts for several solo instruments by Mozart and Haydn. The key features include a three- or four-part cycle, a variety of musical forms with sonata-like features as a backbone, thoughtful intonation patterns and thematic connections, equal standing of soloists and orchestra or, at times, the predominance of the latter. The study suggests that Austrian concert symphonies are closer to the symphonic interpretation in contrast to more concert-like German and French compositions written in this genre.
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Notley, Margaret. "Volksconcerte in Vienna and Late Nineteenth-Century Ideology of the Symphony." Journal of the American Musicological Society 50, no. 2-3 (1997): 421–53. http://dx.doi.org/10.2307/831840.

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Late nineteenth-century journalistic criticism in Vienna offers many precedents for Paul Bekker's interpretation of the symphony. Beethoven's symphonies provided the model for an aesthetics of the genre-couched in metaphors connecting it to "the people"-that motivated the reception of works by Brahms and Bruckner. Activists who wished to inaugurate symphonic Volksconcerte in the city took the figurative utopian function of the genre literally. Though their efforts were confounded not only by institutionalized elitism but also by the preferences of the Viennese Volk for other kinds of music, their work bore fruit in the early twentieth century with the founding of the Wiener Konzertverein and the Arbeiter-Symphonie-Konzerte.
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Arias, Enrique Alberto. "The Symphonies of Alexander Tcherepnin." Tempo, no. 158 (September 1986): 23–31. http://dx.doi.org/10.1017/s0040298200022531.

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When Alexander Tcherepnin Died in 1977, he left a rich legacy of symphonic composition written over a major portion of this century. Of these works, the most important are the four symphonies and the Divertimento for orchestra. They are worthy companions of the symphonies of Prokofiev and Shostakovitch. The changes of style found in these five pieces correspond to similar changes found in other major composers of the period.
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Mathew, Nicholas. "Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration." 19th-Century Music 33, no. 2 (2009): 110–50. http://dx.doi.org/10.1525/ncm.2009.33.2.110.

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Abstract This article argues for a number of hitherto unrecognized continuities——stylistic, aesthetic, and ideological——between Beethoven's marginalized ““political music”” from the period of the Congress of Vienna and his canonical symphonic works. It rereads his œœuvre against the background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new archival research into Vienna's politicized choral culture, the article argues that contemporary theorizing about the power of the musical sublime became the theoretical wing of music's changing social status, as it was mobilized by the state during the Napoleonic Wars more than ever before. These new, Handelian contexts for Beethoven's music lead to three conclusions. First, the choral aesthetic background to Beethoven's symphonies has been largely overlooked. With reference to original performance contexts as well as the topical character of Beethoven's symphonies, the article argues that the symphonies are often best understood as orchestral transmutations of the grand Handelian chorus. Against this background, the appearance of an actual chorus in the Ninth might be reconceived as a moment when the genre's aesthetic debt is most apparent, rather than a shocking generic transgression. Second, the distinction, commonly elaborated by Beethoven scholars, between the mere bombast of Beethoven's political compositions and the ““authentic,”” Kantian sublime of human freedom supposedly articulated in his symphonies cannot easily be sustained. Third, the cultural entanglement of choral and symphonic music in Beethoven's Vienna reveals something not only of the political origins but also of the continuing political potency of Beethoven's symphonies. With reference to Althusserian theories of power and subjectivity, the article speculates that the compelling sense of listener subjectivity created by Beethoven's most vaunted symphonic compositions (noted by Scott Burnham) comes about in part through the music's and the listener's transformation of external, choral reflections of political power into internal, symphonic ones——a transformation that leaves its mark on the topical character of the symphonies, which, especially in their most intense moments of subjective engagement, are replete with official topics and gestures: marches, hymns, and fugues. This might explain why the music has so often been heard as simultaneously browbeating and uplifting, authoritarian and liberating.
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Horváth, Pál. "Untying the “Musical Sphinx:” Beethoven’s Symphony No. 9 in Nineteenth-Century Pest-Buda." Studia Musicologica 61, no. 1-2 (2021): 33–50. http://dx.doi.org/10.1556/6.2020.00003.

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It is well known that Beethoven’s Ninth was followed by a temporary crisis in the genre of the symphony: the next generation found it difficult to get away from the shadow of this monumental piece. The Ninth was first performed in Hungary in 1865, more than 40 years after the world-premiere. We should add, however, that during the first half of the nineteenth century, no professional symphonic orchestra and choir existed in Pest-Buda that would have coped with the task. Although the Hungarian public was able to hear some of Beethoven’s symphonies already by the 1830s – mainly thanks to the Musical Association of Pest-Buda – in many cases only fragments of symphonies were performed. The Orchestra of the Philharmonic Society, founded in 1853, was meant to compensate for the lack of symphonic concerts. This paper is about the performances of Beethoven’s symphonies in Pest-Buda in the nineteenth century, and it especially it focuses on the reception of Symphony No. 9 in the Hungarian press, which cannot be understood without taking into consideration the influence of the Neudeutsche Schule (New German School).
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Banks, Paul. "Symphonies." Musical Times 128, no. 1729 (1987): 145. http://dx.doi.org/10.2307/964504.

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Conway, Paul. "Recent discs of Egon Wellesz." Tempo 59, no. 233 (2005): 76–78. http://dx.doi.org/10.1017/s0040298205240251.

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EGON WELLESZ: Vorfrühling; Leben, Traum und Tod; Lied der Welt; Sonette der Elizabeth Barrett Browning; Ode an die Musik; Vision; Symphonischer Epilog. Regina Klepper (sop), Sophie Koch (mezzo), Deutsches Symphonie-Orchester Berlin, c. Roger Epple. Capriccio 67077.WELLESZ: Symphonies Nos. 1 and 8; Symphonischer Epilog. Radio Symphonieorchester Wien, c. Gottfried Rabl. CPO 999998-2.WELLESZ: Symphonies Nos. 2 and 9. Radio Symphonieorchester Wien, c. Gottfried Rabl. CPO 999997-2.WELLESZ: Prosperos Beschwörungen; HONEGGER: Symphony No. 5; STRAVINSKY: Le Sacre du printemps; JANÁČEK: Sinfonietta; WEBERN: Passacaglia; Six Movements op. 6; BERG: Der Wein; SCHOENBERG: Pelleas und Melisande; SCHMIDT: Symphony No. 2. Vienna Philharmonic c. Haitink, Ansermet, Markevitch, Kubelik, Mehta, Dorov, Bohm, Leinsdorf. Andante AND4080.
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Will, Richard. "Time, Morality, and Humanity in Beethoven's Pastoral Symphony." Journal of the American Musicological Society 50, no. 2-3 (1997): 271–329. http://dx.doi.org/10.2307/831836.

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While Beethoven's Pastoral Symphony exhibits the underlying four-movement framework and other familiar hallmarks of eighteenth- and early nineteenth-century symphonies, in other respects it more closely resembles programmatic symphonies of the same period, particularly in the continuity between its concluding movements and the unusual structure of its storm. Its mixture of symphonic and programmatic practices serves to dramatize the effects of time on pastoral idylls and the role of morality therein. The work can be interpreted as a confrontation with these fundamentally human issues rather than-as many twentieth-century commentators have assumed-the representation of a mythical or prelapsarian paradise.
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Sisman, Elaine R. "Haydn's Theater Symphonies." Journal of the American Musicological Society 43, no. 2 (1990): 292–352. http://dx.doi.org/10.2307/831616.

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Although spoken plays in eighteenth-century Germany and Austria frequently included arias, the presence of instrumental music as overtures, entr'actes, and finales is less well documented. Few instrumental pieces appear to have been composed especially for particular plays before 1780. Haydn wrote one of the most celebrated of these pieces-music to Regnard's play Le distrait, performed in German as Der Zerstreute-and then arranged it as a symphony (no. 60, 1774). Theater journals of the 1770s listed Haydn as music director to theatrical troupes in residence at Eszterháza, notably that of Karl Wahr, known for performing serious plays and Shakespeare's tragedies; indeed, references in the same journals suggest that Haydn had even written music to Hamlet for Wahr. Yet no such music nor any other theater music by Haydn has been recovered. This study explores the hypothesis that Haydn's symphonies served as theater music and examines theories of theater symphonies, the flourishing of Hamlet on the Austrian stage in the 1770s, and the relevance of titles of Haydn's symphonies of the later 1760s and 1770s. The author proposes that much of Haydn's symphonic music of the period widely described as exemplifying the musical Sturm und Drang was either originally destined for the stage, or composed with a view to possible later use as overtures and entr'actes, and that important dramatic and rhetorical features of his style can be better understood in this light than in traditional ways.
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Dissertations / Theses on the topic "Symphonies"

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Morell, Justin 1973. "Symphonies -- Scores and parts." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11058.

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1 score (xvii, 233 p.)
Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination. Composers have sometimes turned to mathematics as a tool for generating art though the systematization of musical elements. However, music often suffers from the conscious attempt by composers to bring it closer to the world of science and math through the serialization of musical material. This does not mean that mathematics and science do not play an important part in music of great expression. To be sure, composers have used simple mathematical concepts to discuss, analyze, and create music at every stage, whether consciously or unconsciously, since the beginning of Western music. These ideas are at the very heart of the great music of previous centuries, even if we celebrate those works more for their intrinsic beauty than their rational mechanics. It is the inventiveness and creativity that we find easy to value in music, but the science behind it also makes its creation possible. My symphony pays tribute to the marriage of creativity, not process, in scientific and musical thought, using the words of scientists and mathematicians as poetic texts, which generate musical imagery. I have chosen a series of quotations by notable scientists and mathematicians throughout history, which serve as textual introductions for each movement of the six-movement, approximately forty-five minute orchestral symphony. Each quotation makes reference to a specific scientific or mathematical discovery of its writer, or displays an aspect of his philosophy. The ideas expressed in the quotations serve as abstract inspiration and suggest musical imagery for each respective movement.
Committee in Charge: Dr. Robert Kyr, Chair; Dr. David Crumb; Dr. Jack Boss; Dr. Marilyn Linton
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De-Barra, Seamas. "The symphonies of John Kinsella." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/7313/.

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Séamas de Barra The Symphonies of John Kinsella ABSTRACT This thesis offers the first comprehensive analytical and critical study of the symphonies of John Kinsella (b. 1932), one of the leading figures in contemporary Irish music. This cycle of ten works represents the most substantial contribution to the genre by an Irish composer, and Kinsella’s varied handling to the form is examined and discussed in relation both to historical and contemporary developments. While his understanding of musical structure and the manner in which he shapes musical time are deeply indebted to the work of Jean Sibelius, Kinsella’s compositional idiom is derived from a personal adaptation of serialism in which the technique of the note-row is manipulated to readmit the forces of tonal attraction. The result of these twin influences is an arrestingly individual approach to composition, the development of which is traced across the cycle as each of the symphonies in turn is subjected to extensive analysis. Because he chose to pursue an independent path in the 1980s, Kinsella seemed a somewhat isolated figure to his contemporaries. Retrospectively, his work can be seen as instinctively in tune with broader developments, however, as both serialism (understood as a way of thinking rather than as a style) and the music of Sibelius have emerged as two of the dominant influences on current musical thinking.
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Pickard, J. L. "The symphonies of Robert Simpson." Thesis, Bangor University, 1989. https://research.bangor.ac.uk/portal/en/theses/the-symphonies-of-robert-simpson(37b869e9-af11-4cd0-81cf-e169a2ef4aa4).html.

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Writing in 1970 of Robert Simpson's music, Hugh Ottaway said, "Simpson's ideal is a Beethovenian dynamism and comprehensiveness, an active unity in which powerful forces are embraced and subdued: a sense of re-engagement with the humanist mainstream, clear-headed and unsentimental is implicit in everything he writes." Simpson's dogged musical integrity has resulted in a high degree of consistency and homogeneity in his compositional development. But in the thirty-seven years that he has been writing symphonies his approach to the ideals mentioned by Ottaway has deepened in strength and subtlety and his achievement has steadily increased in breadth and power. This dissertation traces his development as a symphonist. The discussion of Symphonies 1-3 demonstrates how their dynamic approach to tonality is expressed in terms of sustained keyconflict. Particularly close attention is given to the Third Symphony - probably the finest of the three. From the early 1970s onwards a change is detectable in the way In which Simpson organises his music. Emphasis upon keyconflict gives way to a concern with the generative powers of certain intervals and the analyses of the symphonies from No.4 onwards reflect the increasing concentration with which Simpson derives his material from a small group of intervals. The analytical approach to each work is essentially a narrative one in keeping with the organic manner in which Simpson's music grows. The dissertation ends with a brief commentary upon Symphony No.10 which, at the time of writing has only just been completed and remains unperformed.
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Schnepel, Julie. "The critical pursuit of the great American symphony : 1893-1950 /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659511m.

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Park, Ki-Seob. "Symphony in Three Movements." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277890/.

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Symphony in Three movements is an orchestra work scored for two flutes, two oboes, two clarinets in Bb, two bassoons, two horns in F, three trumpets in Bb, three trombones, one tuba, percussion and strings. The percussion consists of timpani, vibraphone, temple block, tom-tom, suspended cymble, bass drum, and gong. The piece is not based on any non-musical image. The three movements of this work, I.(variation-like) II.(ternary) III.(fantasia-like), are based on the combination of the solemn ceremonial atmosphere of Korean music and early twentieth-century Western music.
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Davis, Derek M. "AN OVERVIEW OF THREE AMERICAN CHORAL SYMPHONIES." Wright State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=wright1229912311.

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Kim, Kyung-Eun. "Jean-Baptiste Davaux and his symphonies concertantes." Diss., University of Iowa, 2008. https://ir.uiowa.edu/etd/218.

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The term symphonie concertante refers to a multi-movement orchestral work of symphonic genre for two or more solo instruments and an orchestra. The symphonie concertante emerged in Paris around 1770, and during first two decade of its existence the genre was primarily a French one. This genre flourished during the second half of the eighteenth century and satisfied the public demand for solo instruments in the symphonies as well as the growing taste for virtuosity that audiences favored. The earliest composers were Mannheimers and Parisians, and the first symphonies concertantes published were mostly by French composers. The principal Parisian symphonie concertante composers were Giovanni Guiseppe Cambini, Jean-Baptiste Davaux, François Devienne, François-Joseph Gossec, Ignace Pleyel and Chevalier Joseph de Saint-Georges. Jean-Baptiste Davaux (1742~1822), a native of La Cote-St André, was first in popularity during the 1770s and 1780s. His earliest work dates from about 1772 and his reputation grew immeasurably during the years followed. Davaux's fame persisted well into the nineteenth-century because of his symphonies concertantes. Despite its great popularity during the last quarter of the eighteenth century, however, the symphonie concertante has not received much attention in the scholarship, and very limited research has been done on Davaux and his symphonies concertantes. My dissertation examines the symphonies concertantes of Jean-Baptiste Davaux, who is considered by the French scholars to be one of the originators of the genre. The dissertation comprises the first in-depth study of the formal structure and social function of the symphonies concertantes. Because the formal structure of symphonie concertante has been largely ignored heretofore, detailed formal analyses of these symphonies concertantes clarifies the formal definitions of the genre found in theoretical treatises and music criticism of the era. The purpose of the study is to clarify the genre's relation to the classical concerto form, formulate its theoretical and formal definition, and help readers to understand its musical and sociological significance in eighteenth-century concert life. Moreover, an edition of the extant symphonies concertantes by Davaux, transcribed for the first time from the eighteenth-century printed source, is included as an appendix.
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Lee, Mei-ling. "Symphony for orchestra /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343171&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Ordway, Scott J. Rilke Rainer Maria. "Symphony no. 2 : "Crime in the house of names" /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/8715.

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For large orchestra; the final movement with mezzo-soprano soloist. Text for the final movement freely adapted by the composer from the poem Herbsttag by Rainer Maria Rilke; also printed as text preceding score. Includes vita. Also available online.
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Grotjahn, Rebecca. "Die Sinfonie im deutschen Kulturgebiet 1850 bis 1875 : ein Beitrag zur Gattungs- und Institutionengeschichte /." Sinzig : Studio, 1998. http://catalogue.bnf.fr/ark:/12148/cb37000413s.

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Books on the topic "Symphonies"

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Beethoven, Ludwig van. Symphonies. Kalmus, 1991.

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Sadie, Stanley. Mozart symphonies. Ariel Music, 1986.

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Simpson, Robert Wilfred Levick. Beethoven symphonies. Ariel Music, BBC publications, 1986., 1986.

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Johannes, Brahms. The symphonies. Decca, 2013.

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Ossoko, Edmond. Symphonies: Poésie. L'Harmattan, 2014.

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Simpson, Robert. Beethoven symphonies. Ariel Music, 1986.

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Barford, Philip. Bruckner symphonies. Ariel Music, 1986.

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Sadie, Stanley. Mozart: Symphonies. Ariel Music/BBC Publications, 1986.

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Dukas, Paul. Music of Paul Dukas. Telarc International Corporation, 1999.

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Bach, Johann Christian. Symphonies II: Twelve symphonic works from eighteenth-century printed sources. Garland, 1985.

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Book chapters on the topic "Symphonies"

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Beethoven’s Symphonies." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-29.

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Broch, Tuva B., Rose Keller, and Evi Petersen. "Water symphonies." In The Ocean, Blue Spaces and Outdoor Learning. Routledge, 2024. http://dx.doi.org/10.4324/9781003272496-8.

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"Symphonies." In Eastern Christianity in Its Texts. T&T CLARK, 2022. http://dx.doi.org/10.5040/9780567682949.0013.

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Smith, Alice Mary. "Symphonies." In Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 38. A-R Editions, 2003. http://dx.doi.org/10.31022/n038.

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Jurkowski, Edward. "Symphonies." In The Music of Joonas Kokkonen. Routledge, 2018. http://dx.doi.org/10.4324/9781351145961-4.

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Radcliffe, Philip. "Symphonies." In Mendelssohn. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164937.003.0010.

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Abstract The thirteen symphonies for strings of 1821 3 throw fascinating light on the early stages of Mendelssohn’s development. The first five, which can be examined as a group, contain three movements, of which the first and last are all in a binary form that comes far nearer to the Baroque suite than to the classical sonata. The texture is solidly contrapuntal, in a style which would have sounded academic and old-fashioned at the time.
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Shulstad, Reeves. "Liszt's symphonic poems and symphonies." In The Cambridge Companion to Liszt. Cambridge University Press, 2005. http://dx.doi.org/10.1017/ccol9780521622042.011.

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Langford, Jeffrey. "The symphonies." In The Cambridge Companion to Berlioz. Cambridge University Press, 2000. http://dx.doi.org/10.1017/ccol9780521593885.006.

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Barlow, Priscilla. "Surreal Symphonies." In Soundtrack Available. Duke University Press, 2001. http://dx.doi.org/10.1215/9780822380986-002.

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Deathridge, John. "Unfinished Symphonies." In Wagner Beyond Good and Evil. University of California Press, 2008. http://dx.doi.org/10.1525/california/9780520254534.003.0015.

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Conference papers on the topic "Symphonies"

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Naito, Maho. "Die Parallelität der Entstehungsprozesse der ersten beiden Symphonien Gustav Mahlers: Instrumentation, Revision und Dirigierpraxis." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.65.

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As is well known, Gustav Mahler made many revisions to his First and Second Symphony after the completion of the autographs on the occasion of performances. This study focuses on these two symphonies in order to clarify his revising processes and features of revisions by deep analysis and by analysing and comparing of the autographs, the copies and the published scores with Mahler’s own handwritten annotations. In addition, the circumstances of Hamburg State Opera (Hamburger Stadttheater) also come up for discussion. There, Mahler conducted a lot of operas and orchestral works during the time when he composed and revised the two symphonies. In this article I demonstrate that the revising processes of these symphonies show the similar features of instrumental changes. Furthermore Mahler’s activities as a conductor in Hamburg had a large influence on his composing and revising processes.
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van Gent, Imco, Gianfranco La Rocca, and Leo L. Veldhuis. "Composing MDAO symphonies: graph-based generation and manipulation of large multidisciplinary systems." In 18th AIAA/ISSMO Multidisciplinary Analysis and Optimization Conference. American Institute of Aeronautics and Astronautics, 2017. http://dx.doi.org/10.2514/6.2017-3663.

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Le, Dinh-Viet-Toan, Mathieu Giraud, Florence Levé, and Francesco Maccarini. "A Corpus Describing Orchestral Texture in First Movements of Classical and Early-Romantic Symphonies." In DLfM '22: 9th International Conference on Digital Libraries for Musicology. ACM, 2022. http://dx.doi.org/10.1145/3543882.3543884.

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Carter, Nicholas P. "Conversion of the Haydn symphonies into electronic form using automatic score recognition: a pilot study." In IS&T/SPIE 1994 International Symposium on Electronic Imaging: Science and Technology, edited by Luc M. Vincent and Theo Pavlidis. SPIE, 1994. http://dx.doi.org/10.1117/12.171115.

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Siegert, Christine. "Komponisten-Gesamtausgaben im digitalen Zeitalter: Perspektiven und Reflexionen am Beispiel Ludwig van Beethovens." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.95.

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In the field of edition philology a diverse range of digital approaches is being put to the test. Taking Ludwig van Beethoven as a basis, this article demonstrates the limits of printed editions and presents preliminary considerations for a genuinely digital edition of his works. Various versions of the Ninth Symphony, the publisher Sigmund Anton Steiner’s publication concept for the Seventh and Eighth Symphonies and Wellingtons Sieg, which incorporated arrangements for highly diverse scorings, as well as the use of single numbers from the opera Fidelio in other music theatre works of the time, all serve as examples. The significance of metatexts and connections in terms of materiality are also discussed. Conceptional principles of such a Digital Beethoven Edition would include an inclusive approach allowing for multiple perspectives, which greatly expands both the number of sources on which an edition is based and the potential for insight, in contrast with traditional editions.
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Ielysieieva, K. "PHENOMENON OF G. PAISIELLO’S CLAVIER MUSIC ON THE EXAMPLE OF “COLLECTION OF RONDOS, KAPRICCIOS AND SYMPHONIES” FROM THE VERNADSKY NATIONAL LIBRARY OF UKRAINE." In I International Scientific Conference on Eurasian scientific cooperation "Scientific research in the XXI century". Global partnership on Development of Scientific Cooperation Limited Liability Company, 2014. http://dx.doi.org/10.17809/01(2014)-16.

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Ju, Younghyun, Youngki Lee, Jihyun Yu, Chulhong Min, Insik Shin, and Junehwa Song. "SymPhoney." In the 10th ACM Conference. ACM Press, 2012. http://dx.doi.org/10.1145/2426656.2426678.

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Stuedi, Patrick, Andreas Frei, Luc Burdet, and Gustavo Alonso. "SymPhone." In the 4th international workshop. ACM Press, 2006. http://dx.doi.org/10.1145/1161023.1161034.

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Renaud, Philippe. "Passage du poète comme « symphonie » ?" In Charles Ferdinand Ramuz, silence(s), bruit(s), musique(s). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5904.

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Roman, Iulia. "Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.

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The composer Dumitru Capoianu is part of the romanian composers who have given valuable works to contemporary music. His creation includes theater music, film music, symphonic music, vocal-symphonic music, choral music, chamber music. Habanera for violin and piano is the work that belongs to the genre of instrumental miniature, a composition in which the elements of jazz café concert blend harmoniously with passages of virtuosity.
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Reports on the topic "Symphonies"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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