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Franaszczuk, Monika Cecilia. "Chopin Onscreen: Media Representations of Frederic Chopin". Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1531241114714343.
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Ladaique, Gabriel. "Les ancetres paternels de frederic chopin". Paris 4, 1986. http://www.theses.fr/1986PA040155.
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Francois chapin, originaire du dauphine, vient se fixer en lorraine au debut du xviiieme siecle. Il se marie en 1705 a romont (vosges) et s'etablit a xirocourt (m. M. ). Ses descendants s'installent dans la vallee du madon ; ils sont pour la plupart tisserands ; tous cultivent la vigne a la fin de leur vie. Ce sont des artisans ruraux. Francois chopin, petit fils du precedent, grand pere de frederic, vient demeurer a marainville en 1769 ; il est charron. Cette commune compte 250 habitants. . . Et deux chateaux ; la seigneurie est elevee en comte en 1728 ; la coexistent sur un fond lorrain des influences francaises et centre europeennes. De 1780 a 1785, le comte est acquis par jean michel pac, lithuanien, ancien chef de la confederation de bar. Francois chopin, syndic de la communaute, son ami l'abbe noel furent les amis de ce nouveau seigneur. Et quand ils quitterent marainville, jean michel pac et son intendant jean adam weydlich emmenerent nicolas chopin, pere de frederic en alsace puis en pologne. Ce dernier devait se montrer un remarquable pedagogue. L'etude de ces quelques generations met bien en lumiere les dominantes des chopin, les aptitudes acquises et transmises au sein de la famille. La connaissance des ancetres, quand elle est fondee sur des documents nombreux et irrefutables, permet de mieux cerner le climat si important de l'enfance, de mieux saisir l'education donnee puis choisie, elle explique bien souvent la vie de relation menee par l'adolescent. . . Le present travail comporte une iconographie abondante et originale, il s'appuie sur des pieces justificatives pour la plupart inedites. La genealogie des chopin lorrains vient clore cette recherche souhaitee depuis longtemps par les meilleurs biographes de fredericFrancois chapin, a native of the dauphine region, came to live in lorraine at the beginning of the xviiith century. He married in 1705 at romont (vosges) and settled down in xirocourt (meurthe et moselle). His descendants settled down in the madon valley : most of them were weavers ; all of them were vine-growers at the end of then lives. They were rural oraftsmen. Francois chopin, grandson of the above mentioned, grandfather of frederic, came to live at marainville in 1769 ; he was a cartwright. The were 250 inhabitants in this locality and two castles ; the estate became a county in 1728 ; on a lorrain background both french and central-european influences came to coexist. Between 1780 to 1785, the county was acquired by jean michel pac, a lithuanien and former head of the bar confederacy. Francois chopin, who was responsible for the community, and his friend abbot noel were the friends of this new lord. And when they left marainville, jean michel pac and his intendant jean weydlich took with them nicolas chopin, frederic's father, to alsace and poland. The latter eventually proved to be a remarkable pedagogue. The study of these particular generations brings to light the main characteristics of the chopin family, the aptitudes developed and transmitted within the family. The knowledge of ancestors, when founded on numerous and inefutable documents, allows one to grasp the very important climate of youth, and to understand the education first given and then adopted : very often it explains as well the various contacts established by the youngman. The present study includes an abondant and original iconography ; it is based upon bona fide documents which, for the most part, have never been published. The genealogy of the chopins living in lorraine puts the finishing touch to this research which had been long requested by frederic's best biographers
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GRABOWSKI, KRZYSZTOF. "L'oeuvre de frederic chopin dans l'edition francaise". Paris 4, 1992. http://www.theses.fr/1992PA040097.
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Cette these est consacree aux editions des oeuvres de chopin realisees en france depuis l'arrivee du compositeur a paris jusqu'a aujourd'hui. Ces publications sont decrites et analysees au cours des quatre parties qui constituent le corps du premier volume : la premiere traite des editions originales ; dans le deuxieme sont etudiees les publications de le seconde moitie du xixe siecle; la troisieme a pour but d'examiner les volumes parus entre 1900 et nos jours; enfin les transcriptions sont le centre d'interet de la quatrieme partie. Toutes les partitions publiees dans l'hexagone ont ete repertoriees dans un catalogue qui compose le second volume de la these. Pour la plupart de ces editions, les cotes des bibliotheques francaises et, occasionnellement, celles des fonds etrangers sont indiquees. De nombreux volumes n'ont pas ete deposes. Leur existence est cependant signalee par la presse musicale specialisee et dans les catalogues des editeurs. La liste de ce publications est dressee a la fin de chacune des firmes concernees. Deux annexes accompagnent ce travail : un choix d'exemples musicaux illustrant des differences entre les textes primitifs francais et allemands, ainsi que le reproduction des pages de titre de toutes les editions originales parisinnesThis thesis is dedicated to the editions of chopin's works realized in france since the composer arrived in paris until the present day. Those publications are described and analysed in the course of the four parts which make up the first volume's body : the first deals with the original editions; in the second, are studied the second half of the nineteenth century's publications; the third is aiming to examine the volumes brought out between 1900 and the present day; finnaly, the transcriptions are the center of interest of the fourth part. All the scores published in france have been itemized in a catalogue which compose the second volume of the thesis. For the most of these editions, the pressmarks of the french librairies and, occasionally, those from foreigners collections are indicated. Many volumes have not been registrated. However, their existence is indicated by the musical specialized press and in the publishers' catalogues. The roll of these publications is drown up at the end of each firm concerned. Two appendices come with this work : a choice of musical examples illustrating differences between the french and german primitive texts, as the duplication of the title pages of all the original parisian editions
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Khalaf, Abdullah. ""In his master's steps he trod" : Alan Rawsthorne and Frederic Chopin : the piano ballades". Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/367873/.
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Alan Rawsthorne is a difficult to place as a composer. To many, his work seems conservative, even academic. Yet in 1937, Patrick Hadley recommended him to Cecil Gray as one of the most 'modern' composers of his generation. This thesis examines the question of Rawsthorne's attitude to contemporary composition, through the lens of his engagement with Chopin. I examine both Rawsthorne's well-known second Ballade (1967) and his comparatively unknown first Ballade (1929), comparing one with the other and analysing them for traces of Chopin's iconic works in the ballade form. I also draw on Rawsthorne's own analysis of the Chopin ballades. Rawsthorne's ballades are clearly a kind of homage to Chopin, insofar as they travel a similar narrative path. It seems, however, that a deeper similarity exists. Like Chopin - who wrote his ballades in a time of great political uncertainty - Rawsthorne turned to the ballade during periods of turbulence and unrest in the world around him (ie., the late 1920s and the late 1960s). In Rawsthorne's case, he wrote music about liberation, which seemed to take on a special meaning for him. In my reading, Rawsthorne's ambivalent approach to tonality and tonal structure, for instance, indicates a kind of troubled search for freedom; equality in a multi-culturalist community and a search for liberty of mankind. Thus, Rawsthorne appears to contribute to the ballade that Chopin created. Parakilas identified Chopin's ballade as a European genre, but Rawsthorne's efforts broaden this concept; he sought to create a ballade that could represent a greater diversity of cultures and people. Rawsthorne's re-articulation of Chopin's ballade and his attraction to its non-nationalist narrativity reflects his time and place. Unlike other musical modernists, he was able to make strikingly new music based firmly on past Romantic model.
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Noland, Kaori Katayama. "Grundgestalt and diatonic/octatonic interaction in Chopin's Ballades". Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2009. http://hdl.handle.net/1794/10251.
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Herrera, Tuesday. "The Element of Endurance in Virtuosic Etudes of Frederic Chopin and Franz Liszt| A Comparative Survey". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10748142.
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Piano Etudes of Frédéric Chopin (1810–1849) and Franz Liszt (1811–1886) remain important concert repertoire and indispensable technical studies for serious pianists to this day. Along with their musical inventiveness, the technical requirement is often novel, with new figurations, extreme range as well as extended passages calling for considerable endurance.
The element of endurance has not been singled out for examination in the literature. To rectify, this paper takes a closer look at the virtuosic etudes from three collections: Chopin's Etudes Op. 10 and Op. 25, and Liszt's 12 Transcendental Etudes (1852) for an analysis of passages requiring endurance, and introduces the Endurance Rating (E.I.) as a factor of duration and strain.
It is hoped that the conclusion regarding endurance will elucidate the differences and similarities between etudes of Chopin and Liszt, determine the role of endurance in contributing to technical difficulty, and assist pianists in choosing appropriate works that would reduce the risk of injury from excessive strain.
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Stanciu, Valeriu. "O universo divinatório de uma obra musical : a descodificação dos 24 prelúdios, op. 28 de Frederic Chopin". Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/1151.
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Mestrado em MúsicaEste trabalho propõe uma descodificação do universo musical de Frederic Chopin através da implementação dum sistema imagético – musical aplicado aos seus 24 Prelúdios op. 28. Esta investigação pretende criar e fundamentar uma interpretação nova e bela e, no nosso entender, mais artística e convincente. Pretendemos ainda descodificar o grafismo musical encontrado, relacionando os elementos ponto, linha, plano e cor, elementos que constituem, na visão do pintor Wassily Kandinsky, as bases de qualquer imagem, seja pictórica ou musical, com o universo discursivo e musical imaginado pelo compositor. Utilizando como principal ferramenta de implementação, a analogia e, em última análise, a transferência sensorial, descobriremos que, atrás do grafismo duma partitura existe um universo que abrange uma simbiose afirmada de conceitos imagéticos e conceitos musicais. Este foi denominado como sendo o Universo Divinatório, uma fonte incansável de recursos imagético – musicais, a qual, através de canais mais ou menos visíveis, direcciona mensagens de natureza invisível e inenarrável, as quais serão codificadas através da escrita gráfico – musical. Neste sentido, o intérprete identificará, na escrita gráfico – musical, elementos gráficos codificadores de momentos temporais e espaciais de tensão criativa e musical, e imagens imagético – musicais que se encontram em perpétua recriação e reformulação. É nosso propósito mostrá-los em concerto através da performance da obra. ABSTRACT: This work has as primary objective to decode Chopin´s musical cycle known as 24 Prelúdes op. 28. The basis of the construction is a methodology identified as being related to creation of a process of symbiosis manifested between concepts of imagistic and music. This process will be transposed using musical notation which uses as fundamental elements: the point, the line, the plane, and, on another level, colour. The author was able to create a relation between Frederic Chopin and Wassily Kandinsky by using as connection the graphism of the scores. Kandinsky created a series of books as “Point and Line to Plane” (1926), that tries to analyze the geometrical elements which and compose any kind of image (pictorial or musical), and others. He describes the cause and effect of their usage and elaborates a series of theories about the subjective effect produced. In order to reach the goal, the author used the 24 Preludes op. 28 of Frederic Chopin as the element of transition between the two worlds of interaction: the imagistic world and the musical world. The paradigm formed creates a new universe which the author denominated as being related to one Universe of Divination. It combines musical and imagistic fractions under the materialization of a symbiosis process. The main tools is used to define the materialization of this Universe is related to the implementation of the Kandinsky´s system of thinking, the graphism, which exists in a visible form in scores. It can translate in a correct way the utilization of motion with different directionality, and the creation of different tensions by combining those motions. We show our investigation through a performance, on concert,of the 24 Preludes op. 28.
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Walker, Julie. "Le dernier style de Chopin : contexte, analyse et stratégies narratives des œuvres tardives". Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC028/document.
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Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux œuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonaisThis thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer
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Grosso, Hideraldo Luiz. "Os preludios para piano de Almeida Prado à Luz do Op. 28, de Frederic Chopin : abordagem relacional dos aspectos técnico-panísticos como fundamento a uma interpretação". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284926.
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Orientadores: Mauricy Matos Martin, Silvio Ricardo BaroniTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-18T01:58:25Z (GMT). No. of bitstreams: 1 Grosso_HideraldoLuiz_D.pdf: 55265405 bytes, checksum: b67dc8d1db8dd26287ba5547b685f411 (MD5) Previous issue date: 2006
Resumo: Este trabalho estabelece uma relação entre os Prelúdios para Piano de Almeida Prado e o Opus 28, de Frederic Chopin, através da comparação de aspectos técnicos de execução, em ambas as coleções, tendo em vista a concepção de uma interpretação a mais criteriosa possível. A metodologia utilizada parte de nossa experiência como intérprete, da leitura dos textos originais, da anotação de dedilhados, assim como da segmentação de cada Prelúdio em seções ou partes, permitindo a apreensão de componentes estruturais selecionados como o espaço, a linguagem, o tempo e o timbre, além da dinâmica, andamento, fraseado e pedalização, com sugestões de recursos técnicos à execução. O caminho percorrido é o da performance para a análise e as ferramentas utilizadas são primeiro as do intérprete e depois as do teórico ou analista. Complementa o trabalho os dois cadernos de Prelúdios para Piano, de Almeida Prado e uma bibliografia reunindo obras a partir das quais nos embasamos. A conclusão revela a interação entre os recursos de execução, exigidos pela linguagem de Chopin e de Almeida Prado, apresentando a possibilidade de um intercâmbio de procedimentos tanto para um como para outro compositor
Abstract: The purpose of this work is to study a possible relationship between the Preludes for Piano by the Brazilian composer Almeida Prado and Op. 28, by Frederic Chopin through the comparison of technical aspects of performance and a critical interpretation. The methodology is based on my experience as a performer, from readings of the original scores, fingering notations, as well as the segmentation of each Prelude. This permitted the comprehension of structural components such as space, musical language, time, timbre, dynamics, tempo, phrasing and pedaling indications. This study departs from performance to analysis and the tools employed thus began with the performer's resources, then those of the theorist or analyst. In this manner, technical resources for interpretation were suggested to obtain a refined performance. Besides, this study was also complemented by both volumes of Preludes for the Piano by Almeida Prado, followed by a bibliography. The conclusion reveals the possibility of interaction between the performance resources required by the musical language presented by Chopin, as well as by Prado. It demonstrates the possibility of an inter-exchange of procedures for either composer
Doutorado
Doutor em Música
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Falterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.
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One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.
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Staruh, Tereza. "Karol Mikuli und Frederic Chopin". 2000. https://ul.qucosa.de/id/qucosa%3A15741.
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Cheng, Chia-Chun y 張嘉純. "Frederic Francois Chopin Piano Sonatas". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/78527036391621925430.
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De, Jager Frederick. "Frederic Chopin : gender as a factor in reception". Thesis, 2004. http://hdl.handle.net/10413/5109.
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Frederic Chopin's contemporaries took note of his preference for a piano with a light escapement. They commented that his method of playing was light in touch, and that his demeanor on stage contrasted strongly with that of other performers who were outwardly expressive. Although his performances enjoyed support from some members of his society, most contemporary commentators viewed his performances negatively. His
performances were seen as deficient when they were contrasted with those of others, and especially those of Franz Liszt. Some of Chopin's contemporaries saw his playing as feminine and contrasted his works with those of Beethoven, whose works seemed to them to express masculinity. Negative assessments of Chopin's works also appear in later critical and musicological literature. In 1889, the music critic Henry T. Finck suggested
that the desire of French, Polish, German and Viennese audiences for what he called "aesthetic jumboism" was detrimental to Chopin's popularity. It is my thesis that smallness has been, and often still is, associated with femininity and that those pianists and authors who advocated largeness - however defined (be it 'grand,' 'healthy,' 'forte,' or 'masculine') - were afraid that Chopin's refined pianism and the "small" aspects of his compositions might be used as evidence that Chopin was not strictly heterosexual. Largeness seems to have been linked in a number of ways to
heroism, and it seems that smallness was seen consequently as lacking in heroism. Thus, musicians and musicologists have criticized his works for their lack of complexity and length and for the nature of their melodies, characteristics that I show to have been associated with both size and masculinity. For example, in 1986, Jean-Jacques Eigeldinger analyzed Chopin's compositions in a way that seems to me to reveal Eigeldinger's own search for complex underlying forms. This search appears to be an
attempt to illustrate that Chopin was intellectually 'heroic' because he could match the organic unification that some musicologists find in the works of other great composers. While the nineteenth-century development of the piano into a powerful concert instrument undoubtedly reflected the changing nature of concert venues and audiences, since recitals moved from the salon to the concert hall, the changes in design could also
been seen as reflecting an ever-increasing desire for largeness. The forcefulness and consequent loudness with which Chopin's music was played on these larger pianos might well have caused (and could still be causing) some pianists' physical problems. Jeffrey Kallberg has analyzed an array of gender-oriented metaphors in relation to Chopin's possible gender-ambiguity, wishing to remove the veil of suspicion that surrounds
smallness. It is my argument that a veil of suspicion is indispensable when analyzing the language that people have used to describe their experiences with music, because they have used language to express their preferences for certain kinds of experiences. Thus I attempt to show that during the hundred and fifty years since Chopin's death, both pianists' performance practices and musicological discourse have attempted to cleanse Chopin's music from its associations with smallness and, consequently, with femininity.Thesis (Ph.D.)-University of Natal, Durban, 2004.
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Tseng, Shih-Fang y 曾士芳. "A Study on Frederic Chopin Preludes, Op.28". Thesis, 2001. http://ndltd.ncl.edu.tw/handle/72113099629959685166.
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碩士國立中山大學
音樂學系研究所
89
Character pieces prevailed in the 19th century. Chopin was one of the most important composers during the period. Preludes Opus 28 of Chopin is characteristic of 19th century style. This thesis is concentrated on the historical background, the composition techniques, and the interpretation of Frédéric Chopin’s Preludes Op. 28. Other then introduction, this thesis is divided into four chapters and an appendix. The first chapter tries to make a survey of the historical background of preludes, including the definition and the development, then the historical background of F. Chopin Preludes, Op. 28. The second chapter discusses the composition techniques and musical styles. The third chapter goes into the performance practice. The fourth chapter sums up the results of the study. Preludes originated from the unattached prelude of the 16th century, then evolved into the Baroque period which the main type in this period was the attached prelude. The type of independent prelude was lately established in the Romantic era. Chopin worked on these 24 preludes sporadically between 1836 and 1839. Each piece varies in length, texture and style. Chopin used varied composition techniques within them. The tonal plan pairs each major key with its relative minor key through the circle of fifths. The style of preludes can categorize into etude, nocturne, mazurka, funeral march, scherzo, perpetuum mobile, songlike, fantasy, and impromptu etc. The performance practice issues such as dynamics, ornamentation, phrasing, pedal, and tempo rubato are discussed. The opinions of scholars, such as T. Higgins, J. Eigeldinger and J. P. Dunn, are represented to help appropriate interpretation. To sum up, Chopin established the prelude as an independent character piece, he also influenced composers of late Romantic era and early 20th century. Therefore, the important contribution of Chopin to the development of preludes is not replaceable.
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Wu, Ming-Hui y 吳明慧. "The Analysis and Interpretation on Four Impromptus of Frederic Chopin". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6qkfk2.
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碩士國立臺灣師範大學
音樂學系
103
An impromptu generally refers to a piece of music composed in an unpremeditated or sudden inspiration manner; hence, it generally has a shorter length. In the Romantic Period, impromptus became a form of music used by composers to express personal styles; they fell into the then popular “character piece” genre. Although unconstrained by any specific style, impromptus mostly took the ternary A-B-A form, which was inspired by literature, fine arts, architecture, and other domains of art. The highly poetic “Four Impromptus” completed between 1835 and 1842 by virtuoso Romantic Period composer Frederic Chopin (1810-1849), also known as “the poet of the piano”, provide perfect examples of the characteristics of the impromptu, which is seemingly unbridled, idiosyncratic and yet rigorously structured. Centered on the Four Impromptus (namely, “Impromptu No. 1 in A flat major, Op. 29”, “Impromptu No. 2 in F sharp major, Op. 36”, “Impromptu No. 3 in G flat major, Op. 51” and “Fantaisie-Impromptu in c sharp minor, Op. 66”) this study explored Chopin’s life, ca-reer and musical style structure as a composer, as well as his interpretive piano tech-niques, in eight chapters. Chapter 1 provides an introductory statement on the study motives and methodology; Chapter 2 includes Chopin’s biography, his masterpieces and unique musical style; Chapter 3 describes how impromptus evolved between the 17th and 19th centuries; Chapters 4 to 7 offer an analysis of the structure of Chopin’s Four Impromptus, including their underlying motifs, elements and how they were interpreted. Conclusions are presented in the final chapter. By collecting literature periodicals published worldwide and consulting information online, major music dictionaries and academic papers, the author has obtained a more comprehensive knowledge about Chopin’s life and musical style, and has become fa-miliar with the compositions, as well as the musician’s approach to arranging structural components, choral parts, forms and tonalities. During the process of this study, the author engaged in frequent discussions with his advisor about Chopin’s performance techniques and unique musical language. All the information gathered was sorted and generalized, and the analytical results were summarized into conclusions.
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YEH, CHIA-WEN y 葉珈妏. "A Study of “Twenty-Four Preludes, Op. 28” by Frederic Chopin". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6ma6kg.
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碩士國立臺南大學
音樂學系碩士班
107
This dissertation is entitled: A Study of “Twenty-Four Preludes, Op. 28” by Frederic Chopin. It delves into the origin and development of “Preludes,” the historical background of the Romantic Period, and the features of piano music. With better comprehension of Chopin’s life, his piano Character Piece and composition methods, the study performs a structural analysis of “Twenty-Four Preludes, Op. 28” in regard to its background information, forms, tunes, transposition, as well as patterns of melody, rhythm, and harmony. In addition, it also conducts a further examination in terms of piano playing, including dynamic levels, tempo, touch, and pedaling. Chopin is a notable Polish composer of the Romantic Period in the 19th century who wrote nearly two hundred piano pieces by translating all his emotions into them with diverse composition techniques and is praised as “the Poet of the Piano.” The study reveals that “Twenty-Four Preludes, Op. 28” is composed in six different forms as if each of them reflects different feelings. This composition, in all twenty-four major and minor keys, is influenced by J.S. Bach’s “The Well-Tempered Clavier,” and its melody is influenced by Italian Operas. Moreover, the harmony and transposing arrangements make his music more colorful and full of changes; dynamic signs and tempo marks add tension to the music. Chopin utilized many of his own distinctive composition techniques to complete this composition. It is hoped that the research of “Twenty-Four Preludes, Op. 28” will give piano teachers and performers better understanding of this composition and also serve as reference for piano playing and teaching.
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Bauer, Henry Raymond. "A technical, musical, and historical analysis of Frederic Chopin's etudes, op. 10". 1996. http://digitalcommons.butler.edu/grtheses/2/.
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Wang, Hung-En y 王鴻恩. "A Study of Frederic Chopin’s Waltzes". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/s2eq48.
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碩士國立中山大學
音樂學系研究所
102
Waltz was a popular dance in 19th century European Society. Because of the open dance form, the waltz was againest by some coservative people, yet favored by most of the others. Of course, it caught a lot of attention of composers at the time that produced many different types of waltz, such as for orchestra, opera, ballet and for piano solo. Most of those works were made for dancing. Frédéric François Chopin, one of the most important solo piano works composers in Romantic era, paid attention to the popularity of waltz. He was quite familiar with the Viennese waltz but not entirely agreed with it. Chopin developed his waltz with his own way, such as varied speed, varied expression and the flavor of mazurka. However, Chopin still kept the traditional waltz spirit in his writing. In these case, Chopin made his works different from other composers and treated his waltz become the content of concert programs. Besides introduction and conclusion, this research includes three parts. In the first discourse, the history and development of waltz and piano waltz are discussed. In the second discourse, the life of Chopin and his piano music are presented, also further discussing the relationship between Chopin and waltz. In the third discourse, the historical background of Chopin’s waltz is investigated. Then by analyzing how Chopin created the waltz, lead us to understand Chopin''s innovation and creativity in his waltz.
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Chen, Yi-chen y 陳怡蓁. "Frederic Chopin''s pianistic writing and the performance practice in his first piano concerto in e minor, Op. 11". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/32408825176387738401.
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碩士東海大學
音樂系
90
Abstract This research paper is a discussion on Frederic Chopin’s pianistic writing and the performance practice in his first piano concerto in e minor, Op. 11. There are four chapters in this paper: the opening is to address what my original motivation and the end goal of these studies are, and what research methodology I am to use in this paper. The second one is mainly about the composer himself and the situation he was in when writing this concerto. The next chapter focuses on the discussion of his pianistic writing in this piece, with comparison to his other major piano works. In addition, there are also some pages about how to overcome the difficulties in this piece, as well as some personal tips for practice. The last one is the conclusion of this paper, where I summarize the outcome of this research and also share my personal thoughts while reaching the stage of final completion. Through these studies, hopefully I will not only indulge myself in the splendid virtuosity on the surface of this piece, but also manage to deliver the inner beauty of this masterwork wholeheartedly to the audience who also appreciate Chopin’s music.
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Tang, Tsai-yao y 唐彩堯. "A Study of Frederic Chopin''s Four Impromptusfor Piano － Op.29, Op.36, Op.51,＆Op.66". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/926a23.
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碩士國立臺南大學
音樂學系碩士班
99
Frederic Chopin（1810-1849）has never written a symphony and opera, and just put his most effort on piano music creation to express his joy, sadness, melancholy and passion. He played the most beautiful part of the sustenance of human emotions on the piano and connected them with poetic fantasy, especially the four piano “Impromptus”. This article firstly defines the subject and scope of the research, followed by literature review to understand the historical evolution of Impromptu, then carries out a research of the compositions of Chopin’s piano music. Finally, the author analyzes the structures and harmonies of the “Impromptu, Op. 19”, “Impromptu, Op. 36”, “Impromptu, Op. 51”and the “Impromptu, Op. 66”. The author combines the suggestions from experts and scholars to do research on a performance of piano playing based on the application of skills, tone colors and dynamics among the four Impromptus in order to offer players control the performance of the four works more precisely. The research found that the Chopin''s four Impromptus are correlated to each other according to similar symmetrical strcture and classical relish,which are like the same or the same series of works. In addition, the four works are in bold harmonic employment and the use of transpositional tone colors, coupled with an abundance of dynamic expression, which make the contents of the works climaxes. The elegant fluency of the melodies make the four works show a slightly similar musical atmosphere. The author hopes to emphasize the importance of Chopin’s four piano“Impromptus”by analyzing and exploring those playing techniques and musical interpretations of the treatment to be more learned and helpful.
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Wang, Ning-Hsien y 王甯嫻. "An Analysis and Interpretation of Frederic Chopin’s Cello Sonata in g minor, op.65". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/63932045689784067891.
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Chi, Pei-Yu y 紀佩妤. "An Analysis and Interpretation of Frederic Chopin’s Cello Sonata in g minor, op. 65". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/edyhrf.
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LIN, LAN-HSUAN y 林蘭軒. "The Analysis and Performance Interpretation of Frederic Chopin’s Ballade Op.47 and Franz Liszt’s Ballade S.171". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/we437q.
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碩士國立臺北教育大學
音樂學系碩士班
103
Federic Chopin and Franz Liszt are two of the greatest composer/pianists of the Romantic period. Chopin possesses poetic thoughts and elegance in his works, while Liszt dazzles the work with his virtuosic pianism. Both composer show unique personalities and charisma, became the outstanding figures of 19 century composers. The ballad of Chopin was based on poetic inspiration, while those of liszt was based on Greek myth. This study aims to investigate the inspiration, composition and connection of these two sets of works. This study is divided into six chapters. Chapter 1 describes the motivation of the author, the perspective, methodology and aim of this study. Chapter 2 covers the biography of both composers, understanding their perception of the life through their own stories. Chapter 3 investigates the form and evolvement of Ballad, discussing the compositional difference of both composers. Chapter 4 and 5 are the detail analysis of Chopin Ballad no.3 and Liszt Ballad no.2, analysis their background, inspiration and interpretation. Chapter 6 is the conclusion and summary of the previous chapters. With intellectual analysis and performance practice, the artistic value and beauty of Ballad can be achieved to a complete level.
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Lee, Yu-Ling y 李玉玲. "An Analysis and Pedagogic Research of John Field’s《Nocturne》No. 5 and Frederic Francois Chopin’s《Nocturne》Op. 27 No. 2". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/c22bpw.
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碩士國立臺北教育大學
音樂學系碩士班
103
Among those characteristic pieces, Nocturnes are the most favorite for pianists. Most people only think about Chopin, Field, an Irish composer who set up this form was ignored. This research will focus on John Field’s Nocturne No.5 and Chopin’s Nocturne Op.27-2. These two pieces will be analyzed in detail and be discussed in their pedagogical aspect thus to provide as a reference for people who want to learn them. This thesis has six chapters, the first chapter explains the purpose of this study and the articles relevant to Nocturne will be stated briefly. Chapter two states Field and Chopin’s lives and their composing styles. Chapter three introduces the origin of Nocturne and both composer's composition techniques. Chapter four is the detailed analysis on John Field's Nocturne No.5 and Chopin’s Nocturne Op.27-2. Chapter five is the comparison of both pieces and further discussion based on the previous analysis. Chapter six is the conclusion. Up to today, Nocturne is still in the concert program through its romantic and unique style. The purpose of this research is to provide performers more understanding to the music and composer’s musical style.
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Chen, Yuchen y 陳妤甄. "The Analysis And Performance Practices Of Wolfgang Amadeus Mozart's In C Minor, K.475 And Frederic Chopin's In F Minor, Op.49". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/50184133483973746632.
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碩士國立臺北教育大學
音樂學系碩士班
100
Fantasy, no specific construction and full of illusion, appeared firstly under musical instruments in the sixteenth century. At that time, the title of Fantasy usually mixed with others noun. As time goes by, not only does Fantasy become to be independent forms freely, but also it makes musicians to be more creative and innovate. The thesis has been distributed to research two piano composition of Fantasy, Mozart’s《Fantasy》in c minor, K.475 in Classical Period and Frederic Chopin’s《Fantasy》in f minor, Op.49 in Romanticism Ages. There are six chapters including in the thesis. In chapter one, not merely does the author write the purpose, motivation and method of the research, but also she introduced the origin and development of Fantasy. In chapter two, the author concentrated on the Mozart’s life, musical style, and the piano music. In chapter three, the background, forms, motives, harmonies, tunes, melodies and illustrated the interpretations of Mozart’s《Fantasy》in c minor, K.475 had been discussed. In chapter four, the author showed Frederic Chopin’s life, musical style, and the type of piano. The background, forms, motives, harmonies, tunes, melodies and interpretations of Frederic Chopin’s《Fantasy》in f minor, Op.49 had been exhibited in chapter five. Finally, in chapter six, the author compared Mozart’s《Fantasy》in c minor to Frederic Chopin’s《Fantasy》in f minor in the compositional difference and similarity ,and then generalized a conclusion.
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Lin, Hung-chun y 林虹君. "A Study of Frederic Francois Chopin’s “Nocturnes”Taking Nocturne op.9-1, op.15-1, op.27-2, op.55-1 as Examples". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/42646336598560778613.
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碩士國立臺南大學
音樂學系教學碩士班
98
Frederic Francois Chopin (1810-1849) was known as one of the most important Romantic piano music composers. Chopin composed a large amount of piano compositions throughout his lifetime. His lofty status made him a representative of Romanticism in music. English composer John Field (1782-1837) primarily created his own unique style in the name of “nocturne” in the nineteenth century. Adopting Field’s thoughts and style, Chopin made the state of nocturnes even higher and more manifold. Chopin continually composed twenty-one nocturnes from 1827 to 1846. This thesis explicitly studies Chopin’s 《Nocturne》 No.1, No.4, No.8, and No.15 respectively. He utilized many different techniques and musical elements in these nocturnes to present abundant and splendid musical expression and intensity. Each of these four Nocturnes was analyzed in the musical form, tonality, harmony, utilization of melodic element, etc. Taking Chopin’s 《Nocturne》 as the topic, the thesis is divided into six chapters. The first chapter is an introduction; the second chapter introduces Chopin’s life and compositional style; the third chapter explores the history of nocturnes. The fourth chapter studies the compositional techniques of Chopin’s nocturnes, inducing the formal analysis and compositional techniques. The fifth chapter interprets and compares different performers recordings of these four Nocturnes. The final chapter is the conclusion, which summarizes this thesis. Hopefully, this thesis will provide detailed and valuable information to readers.
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Wang, Pei-wen y 王姵文. "The Analysis and Interpretation of Frederic Chopin’s《Nocturne》in c minor,Op.48 No.1、Gabriel Fauré’s《Nocturne》in E-flat major,Op.36、Mao-Shuen Chen’s《Nocturne》No.1". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/44807360160331099766.
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碩士國立臺北教育大學
音樂教育學系碩士班
95
The structure of piano nocturne was formed by English composer John Field(1782-1837) in early nineteenth century. Although characteristics of Field’s nocturnes were reserved, the structure of piano nocturnes became more flexible after Field’s works as each composer had his/her own style. Three nocturnes were analyzed in this interpretive study. The first one, Chopin’s 《nocturne》in c minor, Op. 48 No.1, is the most splendid and dramatic one among Chopin’s nocturnes. The second one, Fauré’s 《nocturne》in E-flat major, Op. 36., is one of the popular nocturnes by Fauré. Lastly, Chen, Mao-Shuen’s 《nocturne》No. 1 is a work with flavors of Chinese music and piano nocturnes. This paper is divided into five chapters. The first chapter is an introduction of the origin and development of piano nocturnes. Chapters 2 to 4 contain descriptions of the backgrounds and styles of the three composers, creations of the three nocturnes, and performance interpretations. Based on analyses completed in previous chapters, similarities and differences of the three nocturnes are summarized in chapter 5. The similarities are: (1) the nocturnes have alterations of accompaniment forms in each sections, (2) the nocturnes employ irregular rhythms, (3) same motifs are repeated in the nocturnes, and (4) ABA ternary forms are used in the three nocturnes. The differences are: (1) each nocturne has its own style, (2) each nocturne uses different time signatures, (3) each nocturne utilizes different tempos, and (4) each nocturne has its own use of expression marks. It is hoped that by way of having an in-depth understanding of the three nocturnes, better interpretations of the three nocturnes are presented while performing them.
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(9719168), Michael James Greenan. "AFRICAN AMERICAN SPIRITUALS AND THE BIBLE: SELECTING TEXTS FOR SECONDARY EDUCATION INSTRUCTION". Thesis, 2020.
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The research in this thesis attempts to select texts from the African American Spirituals and the Bible that are appropriate for secondary language arts instruction, specifically for grades 9-12. The paper first gives an overview of legal justifications and educational reasons for teaching religious literature in public schools. Then, relevant educational standards are discussed, and, using the standards as an initial guide, I identify common themes within the Spirituals and Bible, which, from my analysis of various literatures, are slavery, chosenness, and coded language. Next, I describe my systematic effort to choose texts from the Spirituals and the Bible. To help accomplish this, I draw primarily from two tomes: Go Down Moses: Celebrating the African-American Spiritual and Biblical Literacy: The Essential Bible Stories Everyone Needs to Know. After I describe the research process of selecting texts, I form judgments about which biblical passages and African American Spirituals are particularly worthy of study, along with their applicable and mutual themes.