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1
Chiang, Clare. « Rediscovering Chaminade's "Six Etudes de Concert," Op. 35 ». Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10142971.
Texte intégralRésumé :
This project report explores Cécile Chaminade’s Six Études de Concert, Op. 35. Chaminade was a popular composer during her lifetime. Many musicians respected and admired her works despite that she was a female composer born in the mid-nineteenth century. Her piano works were widely published in America and Europe. Though not as popular today, her admirable works can be effective, deserving occasional performances on the concert stage.
The introduction of this report discusses Chaminade’s success as a woman composer, the decline of her fame after she die, and the rising interest in her works by scholars and musicians of the present day. Subsequent chapters examine Chamiande’s musical career, compositional style, and influences by other Romantic composers. The final chapter is an analysis of Six Études de Concert, Op. 35, focusing on the title and the character of each piece, with a few practical suggestions for the performer.
2
Hu, Yingzhou. « Variations Op. 41 and Etudes Op. 67 by Nikolai Kapustin : Historical Background, Stylistic Influences, and Performance Approaches ». The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1610037557641902.
Texte intégral
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Park, Hyuna. « A Performance Guide of Cecile Chaminade’s Early Piano Works:Piano Sonata Op. 21, Six Etudes de Concert Op. 35, and Concertstuck Op. 40 ». University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1562923290461938.
Texte intégral
4
Radiushina, Marina. « A Performer's Perspective on the Technical Challenges and Interpretive Aspects of Sergei Rachmaninoff's Etudes-Tableaux Opus 39 ». Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/202.
Texte intégralRésumé :
The focus of this project is the performance of Sergei Rachmaninoff's Etudes-Tableaux Op. 39. The purpose is to provide interested performers with a clear understanding of the inner workings of these compositions and to address many problems of interpretation and technical challenges of the Etudes-Tableaux Op. 39. The author's goal is to offer creative interpretive explanations and technical solutions to the existing pianistic problems and to aid a performer in his/her approach to learning in order to create a credible and skillful performance. The study makes use of the multi-faceted opportunities that are appropriate to the lecture-recital format. In addition to the research presented in the script, the author incorporated a Power Point™ slide presentation (copies included with this document), audio excerpts from CD performances, live demonstrations on the piano, and a live performance of selected Etudes-Tableaux Op. 39 (all included on the DVD which supplements this document). The script includes a brief biographical sketch of Rachmaninoff, followed by the two research topics of performance practice, interpretive aspects and technical challenges. The Power Point™ presentation serves to enhance the content and to facilitate the explanations of some of the topics of the lecture. This is especially relevant when incorporating excerpts from music scores and examples of paintings. The CD audio excerpts and live demonstrations are intended to illustrate the details of the compositional and stylistic features and performance practice. Finally, the live performance of the Etudes-Tableaux Op. 39, and its audio/video documentation on DVD, confirms the study's research findings.
5
Zuniga, Chanto Fernando. « Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op. 26, by Ludwig Milde ». Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145124.
Texte intégralRésumé :
This document demonstrates that study and performance of newly-composed versions of four etudes from Ludwig Milde's Concert Etudes, Op. 26 (publ. post. 1935) can prepare advanced bassoon students for performance of not only the etudes themselves (which includes advanced techniques such as rapid single tonguing, double tonguing, difficult slurring, tapering, an execution of complicated scales and arpeggios in the context of a musical passage, half-hole, vibrato, flicking, and control of long notes in extreme registers), but also can be used to address both performing and technical issues not covered in Milde's study, such as the problems posed by ensemble playing, tone-color, and rhythm.The project analyzes a selection of four etudes from the Concert Etudes, Op. 26 in terms of harmony and form, explores the technical difficulties found in each one of them and their possible approaches, and provides arrangements for two bassoons, bassoon and piano, and bassoon quartet, giving the student a new palette of options for the study of the Concert Etudes, Op. 26 and new devices for the improvement of various techniques.
6
Pisano, Paul W. « Ursatz, Grundgestalt, and Hyperdissonance : Post-Kuchkist Compound Syntax in Rachmaninoff Etudes-Tableaux, Op. 39, Nos. 1-3 ». University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404385.
Texte intégral
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Canilha, Cauã Borges. « Uma análise mecânica sobre os 25 Etudes Mélodiques et Progressivas Op.60 para violão, de Matteo Carcassi ». Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-31102017-145029/.
Texte intégralRésumé :
Este trabalho propõe uma análise sistemática das demandas mecânicas instrumentais básicas do violão, visando, assim, uma aquisição consciente de determinadas movimentações. A base teórica foi composta por autores que abordam questões essencialmente práticas do fazer instrumental do violão, destacando-se Abel Carlevaro e Eduardo Fernandez; este último diferencia claramente os termos mecânica e técnica, aspecto fundamental neste trabalho. As movimentações de cada mão são divididas entre horizontais (no sentido das cordas) e verticais (entre as cordas) e entre os aspectos mecânicos relacionados à localização das mãos no instrumento (chamados por nós de parâmetros e suas expansões) e os relacionados às referências ou movimentações auxiliares na mudança entre duas localizações (chamados de recursos). A partir da ordenação proposta e das notações desenvolvidas, concebemos uma sistemática de estudo, visando à aquisição de tais movimentos, aplicada nos 25 Etudes Mélodiques et Progressives Op.60, de Matteo Carcassi. Foram realizadas propostas de caráter vocabular e elementos pouco ou não debatidos foram tratados, fornecendo material para discussões futuras dentro do amplo campo temático da mecânica instrumental. A organização sistemática dos elementos mecânicos proposta, aplicados na obra de Carcassi, procurou uma maior eficiência no processo de aprendizagem, buscando melhorias em relação à efetividade técnica e à maior consciência das demandas instrumentais.This project proposes a systematic analysis of the basic mechanical demands of the guitar to assist a conscious development of certain gestures. The theoretical basis in this work is compound mainly by the ideas of authors that dealt with practical issues of the instrumental making of the guitar, such as Abel Carlevaro and Eduardo Fernandez; the last one clearly differentiates the terms mechanical and technical, fundamental aspects in this work. The gestures of each hand are divided between horizontal (in the direction of the strings) and vertical (between the strings) and between the mechanical aspects related to the location of the hands in the instrument (called by us of parameters and their expansions) and those related to the reference or auxiliary gestures in the change between two locations (called resources). From the proposed ordering and the developed notations, we designed a systematic study aimed at the developing of such gestures, applied in the 25 Etudes Mélodiques et Progressives Op.60, by Matteo Carcassi. The proposal of a vocabulary was made and often ignored elements were approached, providing content for future discussions within the wide topic of instrumental mechanics. The systematic organization of the mechanical elements proposed, applied in Carcassi\'s music, sought greater efficiency in the learning process, seeking improvements in relation to the technical effectiveness and awareness of the instrumental demands.
8
Petrella, Diane Helfers. « The Tone Clock : Peter Schat's System and an Application to His Etudes for Piano and Orchestra, Opus 39 ». Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc5517/.
Texte intégralRésumé :
The scope of this study includes relevant background information on Peter Schat and his compositions and process, an explanation of the Tone Clock system and a detailed analysis of one of his compositions, the Etudes for Piano and Orchestra, Opus 39. The intent is to demonstrate how the Tone Clock naturally evolved from the practices of the Second Viennese School and how it relates to both new and existing modern music. The study is divided into five chapters. Chapter 1 presents a brief introduction to Peter Schat and the Tone Clock. Chapter 2 provides a more detailed biography of Peter Schat and traces the development and evolution of his compositional techniques, ultimately culminating in the Tone Clock. Chapter 3 provides a basic explanation of the Tone Clock itself, with demonstrations of various components through musical examples and illustrations. Chapter 4 is a detailed analysis of the Etudes for Piano and Orchestra, Opus. 39. Chapter 5 summarizes the results of the study, with special attention to the impact of the Tone Clock on performance from the perspective of the performer. The analysis of the Etudes was completed by using the Tone Clock as an analytical tool, aided by the composer's original manuscript and sketches for the work. The goal of the study is to establish the value of the Tone Clock as both a compositional and analytical tool.
9
Kumamoto, Yuki. « Soviet Music as Bricolage : The Case of the Piano Works of Nikolai Rakov (1908-1990) ». Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703341/.
Texte intégralRésumé :
Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.
10
Shen, Fang-Yi. « A pedagogical and analytic comparison of Auguste Franchomme's Twelve Caprices, Op. 7 and Alfredo Piatti's Twelve Caprices, Op. 25 ». Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1236048721.
Texte intégralRésumé :
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisors: David Carson Berry (Committee Chair), Jonathan Kregor (Committee Member), Lee Fiser (Committee Member). Title from electronic thesis title page (viewed May 1, 2009). Includes abstract. Keywords: Cello; Schenker; Performance; Franchomme; Piatti; Caprices; Etude. Includes bibliographical references.
11
Dias, Fábio. « Une etude de certains op erateurs morphologiques dans les complexes simpliciaux ». Phd thesis, Université de Marne la Vallée, 2012. http://tel.archives-ouvertes.fr/tel-00965583.
Texte intégralRésumé :
Dans ce travail, nous etudions le cadre de la morphologie math ematique sur les complexes simpliciaux. Complexes simpliciaux sont une structure versatile et largement utilis ee pour repr esenter des donn ees multidimensionnelles, telles que des maillages, qui sont des complexes tridimensionnels, ou des graphes, qui peuvent etre interpr et ees comme des complexes bidimensionnels. La morphologie math ematique est l'un des cadres les plus puissants pour le traitement de l'image, y compris le traitement des structures num eriques, et est largement utilis e pour de nombreuses applications. Toutefois, les op erateurs de morphologie math ematique sur des espaces complexes simpliciaux n'est pas un concept enti erement d evelopp e dans la litt erature. Dans ce travail, nous passons en revue certains op erateurs classiques des complexes simpliciaux sous la lumi ere de la morphologie math ematique, de montrer qu'ils sont des op erateurs de morphologie. Nous d efi nissons certains treillis de base et les op erateurs agissant sur ces treillis : dilatations, erosions, ouvertures, fermetures et fi ltres altern es s equentiels, et aussi leur extension a simplexes pond er es. Cependant, les principales contributions de ce travail sont ce que nous appelions les op erateurs dimensionnels, petites et polyvalents op erateurs qui peuvent etre utilis es pour d efi nir de nouveaux op erateurs sur les complexes simpliciaux, qui garde les propri et es de la morphologie math ematique. Ces op erateurs peuvent egalement etre utilis es pour exprimer pratiquement n'importe quel op erateur dans la litt erature. Nous illustrons les op erateurs d e nis et nous comparons les filtres altern es s equentiels contre ltres d e finis dans la litt erature, o u nos filtres pr esentent de meilleurs r esultats pour l'enl evement du petit, intense bruit des images binaires.
12
Štětinová, Ludmila. « Problematika a nácvik Mazasových melodických etud op.36,sešit I ». Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156144.
Texte intégralRésumé :
In this work I will particularly withg the 1st part of Melodic etudes op. 36 by Jacques Féréol Mazas.
The initial chapters are devoted to his predecessors - the French violin school, then the life and work of the author.Next chapter is devoted to how should be technically equipped a pupil who comes to play these etudes, including several exercises and recommended technical material.
The basis of this work is a general description of particular etudes in point of wiew aspects of violin techniques, such as bow splitting, ways of implementation of individual bow movement, string crossing, themobolity of the fingers of the left hand, shifting, phrasing, accentuation, dynamic, melodic ornaments, vibrato and so on., with the recommended training of more difficult parts.
13
Chiang, Pei-hua, et 江佩樺. « A Study of Moritz Moszkowski’s "Etudes,Op.91" ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/57466575536873014895.
Texte intégralRésumé :
碩士國立臺南大學
音樂學系教學碩士班
98
The purpose of this article is to discuss Moritz Moszkowski''s "Etudes, Op.91", which contains 20 etudes are with each short in length.The work fully expresses the characteristics of emphasizing both the playing skills and the music itself. In order to understand the background of Moritz Moszkowski''s “Etudes,Op.91”, the author studies the development of the 19th century piano etudes, and the characteristics of Moritz Moszkowski''s biography and piano music. The author then analyzes the music writing technique of the work, which demonstrates its musical form mainly for ternary and one-part forms with rich harmonic sonority, the attention to dynamic contrast, the variety figures of melodic lines, such as the scales, the broken chords, the textures of multi-musical parts, the chords of third and sixth degrees, and so on. The author finally probes into the playing skills of the work, which include multi-musical parts playing, broken chords, hands crossing, fingers practicing etc., and the details of independent fingers training and the balanced differentiating musical parts. The practice goal of this work includes the skill training and the musicality expression, containing dynamics and rich timbre change which is helpful to learners for improving their playing skills and an esthetic performance of melody. It then makes the skill practice no longer senseless machinery training but to present the essence of self-control of the music work.
14
Tsai, Wan-Ting, et 蔡宛庭. « A Study of Robert Schumann’s Symphonic Etudes, Op. 13 ». Thesis, 2015. http://ndltd.ncl.edu.tw/handle/83312171499054123032.
Texte intégralRésumé :
碩士臺北市立大學
音樂學系
103
The Romantic composers in the nineteenth century, such as Robert Schumann(1810-1856), the composer of Symphonic Etudes. Symphonic Etudes are a series of etudes in the form of variation—turn the theme into twelve variations. Each variation has different purpose of the exercise. Schumann would like the piano sound to be upgraded to "symphonic" by title--whether changing tone colors, stacked layers，harmony, rhythm or melody. It is worth mentioning, although in this work, it does not mention Florestan and Eusebius, he quietly betting on music mood. Schumann fully demonstrated the unique creative style. Symphonic Etudes is the main character of this thesis, which variations explore features from a historical perspective, and analyze this composition by condition classification. Then make each practice piece corresponds to two other important piano works of Schumann "Carnaval", " Davidsb#westeur061#ndlert#westeur037#nze". "Carnaval," the
15
Hsu, Pao-Chen, et 許寶真. « Schumann:"6 Concert Etudes after Paganini Caprices, Op.10" ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/96242131869674753362.
Texte intégralRésumé :
碩士國立臺灣師範大學
音樂學系在職進修碩士班
99
6 Concert Etudes after Paganini Caprices, Op.10 is one of Schumann’s early works, written in 1833, and published in 1835 after several revisions. Adapting from Paganini’s 24 Capricci for Solo Violin, Op. 1 for its melody, the 6 pieces it includes express the will to venerate and imitate Paganini’s tremendous performance technique. Schumann names the work Concert Etude to differentiate it from Etudes after Paganini Caprices, Op.3 in 1833. Op. 3 is a work for educational purpose, whereas Op. 10 is for concert performance, propagating its own artistic essence, Schumann says. While Lizst makes a work in the same name Grandes études de Paganin in 1830-40, he makes it as a virtuoso etude, that technique is its emphasis. As for Schumann’s work, he himself says in a criticism that what his work accentuates is the poetic expression. This music is a concert etude, as well as a transcription. The paper tends to analyze each piece of them from the characteristics in its form, rhythm, melody, harmony and texture, and interprets from the perspectives of technique, performance of melody flows in many layers, and poetic expression.
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Lee, Min-ju, et 李旻儒. « A Study of Edward MacDowell’s “Twelve Etudes, Op.39” ». Thesis, 2007. http://ndltd.ncl.edu.tw/handle/62259012387215785888.
Texte intégralRésumé :
碩士國立臺南大學
音樂學系碩士班
96
The purpose of this thesis is to study MacDowell’s Twelve Etudes, Op.39. The Twelve Etudes are composed for intermediate-level students , and each etude is added with both one title and one teaching aim. For some etudes, MacDowell also provides some suggestions of practicing. The subtitle ‘For the Development of Technique and Style’ indicates MacDowell’s purposes of emphasizing techniques and musicianship as well. First, the author analyzed the background of the Twelve Etudes through the development of piano etudes in the nineteenth century, the biography and his piano works of MacDowell. Next, the author went on to analyze the characteristics of the Twelve Etudes. As for the structure, they are simple, and most of them are in ternary forms. The styles of the Twelve Etudes include pieces about nature, dance music, and independent titles. Chromaticism and contrasting dynamics are also traits of the Twelve Etudes. Further, the author focused on technique and interpretation of the work. MacDowell combined techniques needed by intermediate-level students with musicianship. Virtuoso factors such as octaves, leaps, alternation of hands are indispensable to interpret, and other techniques join together to express the music. As a result, the Twelve Etudes show three beneficial aspects for intermediate-level students. First, some differences in the same materials make practice more interesting. Second, most of the etudes are in ternary forms favorite to most intermediate students, and the difficulty is between the intermediate and advanced level. In addition to training techniques, the Twelve Etudes can be a program of recital materials, which meet the players’ needs. Third, the teaching aim involves technique training and a control of the musical atmosphere. MacDowell even asked some different music effects through a same technique. Besides, the etudes show varieties of dynamics and tempi, and they are helpful to have more technical and musical development. Based on the trend of the technique and musicianship merged in etudes in the nineteenth century, the Twelve Etudes which MacDowell composed provide fine practices and recital practicing materials for intermediate-level students. On the other hand, it also can be a preparation for more advanced repertoires.
17
Yang, Hsin-ying, et 楊欣穎. « A Study of Teaching Piano Etudes—Use Czerny Etude Op.821 and Chopin Etudes Opp.10, 25 as examples ». Thesis, 2006. http://ndltd.ncl.edu.tw/handle/22275066443234415344.
Texte intégralRésumé :
碩士國立臺南大學
音樂教育學系碩士班
94
In piano pedagogy, technical training is considered important at every stage of learning, from simple finger exercise to virtuoso performance. A learner may make use of the piano etudes to overcome the hurdles encountered during the training of various techniques in playing piano. The main purpose of this thesis is to study the teaching of piano etude. In the thesis, the historical development and the classification of piano etudes are explored. As a result of the study, the writer is inclined to divide the etudes into two categories : the etudes for basic technical training and the concert etudes for public performance. Discussions are made on examples from Czerny Etude Op. 821, and Chopin Etudes Op. 10 and Op. 25. The study goes a step further to explore the teaching aspect of the etudes, and to study their resemblance and the differences. In terms of the historical development of the piano etudes, the writer has found that the interpretations of the piano etudes by the composers themselves may vary in accordance to the different social backgrounds and circumstances in the different periods. Thus, through the classification and definition of the piano etudes by the scholars, a piano learner may get useful in-depth understanding of the characteristics and functions of the etudes, and thereby be able to set forth a proper learning plan to practice, and to achieve excellence through gradual steps. For teaching the piano playing, the writer makes a skill classification based on different music shapes of Czerny Etude Op. 821, and Chopin Etudes Op. 10, and Op. 25. Each skill is presented by an example to illustrate the important aspects of playing and teaching piano.During the study, the writer has found the relative and the distinctive aspects of the etudes in its artistic and creative styles. As far as the relative aspects are concerned, each etude is provided for the purpose of one technique training and is strictly required for the playing speed, also some complementary teaching materials. For the different aspects, each etude serves a different purpose, different music structure and provides a different degree of harmonic using.
18
Combrink, Albert Christiaan. « A stylistic and technical analysis of Skryabin's Etudes, Op. 8 ». Thesis, 1992. http://hdl.handle.net/10413/8880.
Texte intégral
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Chung, Hsin Yi, et 鍾馨誼. « R. Schumann:Symphonic Etudes op.13 analysis/Hsin yi Chung piano concert ». Thesis, 2004. http://ndltd.ncl.edu.tw/handle/59819693879226877095.
Texte intégralRésumé :
碩士東吳大學
音樂學系
92
This piece of music is composed by Robert Schumann (1810-1856) who ages twenty-four at the time in 1834. The title comes from the father of Schumann’s first love, Ernestine von Fricken. Mr. Fricken who was an amateur flutes player and always wanted to be a composer. When Mr. Fricken dedicated the piece of music that he wrote in 1834 to Schumann, he was asked for opinions. Schumann not only did a thorough analysis carefully, but also composed its own variation based on Mr. Fricken’s piece. The new set of music is combined by twelve Etudes and is named Thema Quasi Marcia Funebre. The idea of the title comes from different Etudes such as Davidsbundler Etuden and Etuden im Orchester Character, von Florestan und Eusebius. However, Schumann had decided to use his own name for the new Etudes in 1837, and the given name was Etudes symphoniques. The name was also dedicated to an English composer whose name is William Sterndale Bennet. When the second edition of Etudes was out in 1852, Schumann omitted the third and ninth Etudes and added a final piece called Finale to the set. The title of the new set was changed to Etudes en forme de variations. After Schumann’s death, J. Brahms (1833-1897) edited Schumann’s version and created a third version in 1862. The third edition of Etudes is currently the most popular version. It not only includes the third and ninth Etudes, which were originally omitted by Schumann, but also adds Finale to the set. The part “symphoniques” of the name Etudes symphoniques has its purpose. Schumann tried to use piano to make the same sound effect as the orchestra. Every variations and chords used produces a unique style of orchestra sound. The author has divided the work into three sections. First of all, music analysis is discussed. This involves the background of composition, different kinds of Etudes versions, and the combination of variation trend and Etudes for performance. Then, more analysis is taken into the piece Etudes symphoniques. The analysis includes chords, beats and the structure of the music. At last, technical evaluation of the music is examined. The evaluation talks about the techniques, practicing methods, and suggestions for the title and variation. J.S Bach The Well-tempered Clavier vol.II A major Prelude & Fugue F.J.Haydn Sonata in C major Hoboken XVI：50 J.Brahms Zwei Rhapsodien op.79 R.Schumann Symphonic Etudes op.13 F. Poulenc Improvisations No.1.6.7.15
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王莊怡. « An Analysis and Interpretation of Robert Schumann's Symphonic Etudes, Op.13 ». Thesis, 2003. http://ndltd.ncl.edu.tw/handle/90043348976045201124.
Texte intégral
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Wang, Lu-Chia, et 王璐加. « The Analysis and Performance Interpretation of Frédéric Chopin’s Etudes, Op.10 ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/16601107647176905292.
Texte intégralRésumé :
碩士國立臺北教育大學
音樂學系碩士班
98
Among the romantic musicians in nineteenth century, Fryderyk Franciszek Chopin (1810-1849) had the most contribution for piano music. He had a passion in creating piano music. He composed almost two hundred pieces in his life time and over 169 of these pieces were for piano. The most impressive matters in Chopin’s piano compositions were the difficulty of the playing technique and the poetic of the music. These two characteristics were revealed in his piano etude without a doubt. Chopin’s piano etudes are not only to practice the fingering technique, but they are also full of “thought-provoking” and “poetic”, which had higher the level of piano etude and made etude has the value of art. This article is divided into five chapters and probing into the etudes Op.10 by Chopin. The first chapter is introduction, mainly stating author’s motivation, purpose, range, and method of this study. The second chapter is the research of Chopin’s life and characteristics of his music. The third chapter is the study of etudes Op.10 about the background, harmony, tempo, and playing technique of this piece. The forth chapter is the interpretation of etudes Op.10. Last, the fifth chapter is the conclusion. By analyzing Chopin’s etude and studying of his playing technique, author is expected to learn more about the technique of interpreting in piano music.
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Kaplunas, Daniel. « Pedagogical analysis of Jakob Dont's 24 Etudes and Caprices, Op. 35 ». 2008. http://purl.galileo.usg.edu/uga%5Fetd/kaplunas%5Fdaniel%5F200805%5Fdma.
Texte intégral
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Lin, Shu-Ling, et 林淑玲. « The Analysis and Interpretation of Robert Schumann Etudes Symphoniques,Op.13 ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/gaj2cj.
Texte intégralRésumé :
碩士台南應用科技大學
音樂系碩士班
101
In Robert Schumann''s〈Robert Schumann, 1810-1856〉piano variation, the harmony, rhythm, and melody line performans occupy a very important position. Rich harmonies change the color or the complex of rhythmic patterns , as well as echoes duet style. The brief melody lines like Canon and Fugue vividly express. Robert Schumann, in his life, wrote three integrity Variation ─〈Abegg Variation, Op.1〉,〈Impromptus uben ein Thema von Clara Wieck, Op.5〉,〈Symphonic Etudes,Op.13〉. The Symphonic Etudes, which is based on a thema combines a series of music segments, and each variation showing a different style of music, each variation is to be developed with different skills. In addition, for this work, “Symphonic Etudes,Op.13”which features orchestral heavy chord, elaborate counterpoint, and rich harmonic sound creates a large-scale symphony style music.This symphony type like the creation mode developed the music of the romantic period to the peak of the art.
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ZihYun, Lin, et 林子筠. « An Analysis And Interpretation Of Igor Stravinsky’s Four Etudes, Op.7 ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/97057525602704460772.
Texte intégralRésumé :
碩士輔仁大學
音樂研究所
100
Igor Fyodorovich Stravinsky(1882-1971) was one of the most representative composers in the first half of the 20th century, whose compositional career was notable for its stylistic diversity. There was a considerable diversity in styles of works, including Russian Period, Neo-Classical Period, and Serial Period. His works contained styles of Baroque, Classical, Romanticism, Nationalists, Primitivism, Impressionism, Atonal Music, and Polytonal Music. Some of his works even comprised the style of modern popular music and the color of jazz music. Soul of music elements were all exerted vividly in Stravinsky’s works. Stravinsky was not only an outstanding compose, but an excellent conductor and a well-known pianist. His works are noted for ballet music. Characteristics of Stravinsky's ballet music works aside from his technical innovations, the exploitations of orchestra forces were important as well, which featured boldness and uniqueness of his works. Piano was one of the most important instruments when Stravinsky composed. Four Etudes, Op. 7 was the prominence out of his student life, which composed in 1908. Each work contains variety of skills and styles, and reveals his consciousness as a professional composer. The paper will discuss compositional features and styles of Stravinsky’s work Four Etudes, Op. 7. And I have divided the paper into six chapters: Chapter one, introduction; chapter two will introduce Stravinsky’s life and compositional styles of his piano works; chapter three focuses on the background of composing Four Etudes, Op. 7; chapter four will analyze Four Etudes, Op. 7deep; chapter five discusses deeper about Four Etudes, Op. 7’s performance interpretations, and conclusions will be given in chapter six. Hope I can learn how to elaborate a piano work perfectly through systematical analyzing Stravinsky’s etude and its performance skills.
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CHEN, HUEI-HAN, et 陳慧涵. « Analysis and Interpretation of Five Piano Etudes of Alexander Scriabin ─ Op. 2, No. 1 ; Op. 8, Nos. 2 and 12 ; Op. 42, No. 5 and Op. 65, No. 3 ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/33b342.
Texte intégralRésumé :
碩士輔仁大學
音樂學系
107
Alexander Scriabin (1876-1915) is a Russian composer whose compositional career spanning from the end of the 19th century to the beginning of the 20th century. Scriabin’s compositional style changed drastically. His early writing of romantic style was greatly influenced by Chopin (1810-1949) and Liszt (1811-1886). In the second and late period, Scriabin was affected by Nietzsche’s philosophy, other phylosophies and mysticism. Scriabin’s harmonic language moves from the traditional harmony based on the interval of third, to the great use of the interval of fourth and the “mystic chord,” the most significant compositional element in his last period. As to the division of Scriabin’s stylistic changes, this thesis follows Jonathan Powell’s article in The Grove Music Online, dividing Scriabin’s style into three periods: the first period (1881-1903); the second period (1903-1909); and the last period (1909-1915). Etude is one of the genres that Scriabin composed though out his three compositional periods. By studying his piano etudes that revealing the changes of his compositional styles make one see the piano music writing of Scriabin and technique that Scriabin utilized for piano playing. This thesis is divided into five chapters. The first chapter is the introduction. The second chapter includes Scriabin and the cultural background in his lifetime and the stylistic changes of Scriabin’s music. The third chapter discusses the development of piano etudes and the piano etudes of Scriabin. The fourth chapter is the analysis and interpretation of the selected five Etudes from Op. 2, No. 1 and Op. 8, Nos. 2 and 12 of the first period; Op. 42, No. 5 of the second period; and Op. 65, No. 3 of the last period. The last chapter is the conclusion.
26
Lin, Wan-Ging, et 林婉菁. « Investigate the etudes of Bela Bartok《Etudes Op.18, 3 pieces》using writing skill and technical manipulation ». Thesis, 2002. http://ndltd.ncl.edu.tw/handle/46502156048092641900.
Texte intégralRésumé :
碩士東吳大學
音樂學系
91
The mainly purposes of this investigation were analyzing the performing style of Bartok''s etudes and discussing the perform problems those virtuoso may confront. The technical problems in these three etudes were solbed by studying the bibliography, looking for the comments of specialists and personal practiced experience. The points of Golden Sectionand Fibonacci Series were also quoted in this dissertation to evidence the phenomena whether do exist in these etudes.Furthermore,the performance problems were also discussed according to the writing skill. Writing skill and performance problems were the primarily issues on Bartok''s etudes after having made a comprehensive survey： 1.The Peasant songs remains a reflection on the representation of tempo profoundly,the characteristics of the Parlandorubato and the Tempo giusto which was formed as popular style in East Europe songs particularly were imaged in etudes. 2.Comparing with the former etudes of Bela Bartok,the performance skills changed slightly.In the main while,Bartok piloted the same performance skills to the infinitely challenge. 3.The musical notes were built on the Harmony which was different from the traditionalstyle.Hence,the performers had to overcome the period of accommodation which came from the new chord. 4.However,this is not a popular etude domestically and the performers got few idea on it. The performers could not grasp the structure of the etude and skills immediately when they contacted it initially,it causes the performers afraid to practice this etude.
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Kim, Jooyoung. « A study of the Chopin Etudes, op. 25, with performance suggestions for technical and musical issues ». 2011. http://liblink.bsu.edu/uhtbin/catkey/1652232.
Texte intégral
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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/.
Texte intégral
29
HSIEH, YA-LUN, et 謝亞倫. « Analysis of David Popper’s Cello Concerto No.2 in E minor, Op. 24 and Technical Practice Using His Etudes, Op. 73 ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/3y797a.
Texte intégralRésumé :
碩士國立臺北藝術大學
音樂學系碩士在職專班
107
David Popper (1843-1913) was a talented composer and cellist. His musical compositions included etudes, works for cello and orchestra, and many salon pieces, all featuring the cello. He was one of the driving forces during late 19th century in helping cello to demonstrate melodious virtuosity like violin. He made great contributions to the development of cello techniques and related compositions of that time. Many of his compositions, such as Op. 73, Hohe Schule des Violoncellospiels, are still required learning material for those learning the cello. The goal of this thesis was to research and analyze David Popper’s Op. 24, Concerto No. 2 in E minor, for cello and orchestra, together with Popper’s Op. 73. Practicing these highly skilled sections will help performers to achieve a more effective interpretation and express its technical connotation. The thesis is divided into five parts. Part 1: Introduction – describe the motivation and purpose of the research, research method, and reference materials. Part 2: briefly describe David Popper’s life and discuss in depth the background of his compositions and an overview of his style. Part 3: Analysis and interpretation of Op. 24, Concerto No. 2 in E minor, for cello and orchestra. Part 4: The skills utilized in Op. 73, Hohe Schule des Violoncellospiels. Part 5 - Conclusion – a summary of what was gained during the process of writing the thesis.
30
Okamoto, Akane. « Nicholai Kapustin's Eight Concert Etudes, Op. 40 : Reflections on Analysis, Practice, and Performance ». Thesis, 2013. http://hdl.handle.net/1807/43683.
Texte intégralRésumé :
Nicholai Kapustin (1937-), a Ukrainian composer whose music amalgamates the Western classical tradition with jazz idioms, is becoming increasingly acclaimed in recent years. His works are known for the physical challenge they impose upon the player due to their complexity that is often accompanied by fast tempi. No less formidable, however, is the challenge to discover the conceptual binding that is needed to capture the overarching sense of purpose within a given piece and communicate it in performance.
One of the most effective approaches in performing Kapustin's music is to take advantage of the structure upon which his compositions are based, as it can allow a classically trained performer to utilize previously developed analytical skills. Although analytical study is an asset for virtually any type of music, the performance of Kapustin's music especially can benefit from analysis owing to its dense and active textures, rhythmic continuity, and varied repetition of relatively homogeneous melodic material. This research encourages regular involvement in analysis and internalizing the music away from the instrument.
An analysis of Kapustin's Eight Concert Etudes, Op. 40 is provided along with the discussion of performance issues that are related to the analysis. These include solidifying the left hand (Etude No. 5), expressing characters through the varying rhythmic values of the melody and accents (Etude No. 6), and isolating various thematic components while simultaneously strengthening their inter-connections (Etudes Nos. 7 and 8). In addition, the research examines some of the psychological implications of analysis, exploring the ways in which analysis can help the performer to be attentive and engaged in the moment. Furthermore, in order to help one take pleasure from and fully benefit from analytical insights during practice, the research aims to cultivate a mindful mode of thinking where one steps away from constant action and becomes more curious and observant in the process of music-making. The conclusion addresses the physical aspect of playing, applying the notion of mindfulness to one's orientation to the instrument.
31
Yenny, Michael A. « The Romantic heritage Dohnányi's compositional language in his Six Concert Etudes, Op. 28 / ». 2009. http://proquest.umi.com/pqdweb?did=1745453281&sid=1&Fmt=2&clientId=14215&RQT=309&VName=PQD.
Texte intégralRésumé :
Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009.Title from title screen (site viewed September 08, 2009). PDF text: vi, 66 p. : music ; 45 Mb. UMI publication number: AAT 3354852. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Chung, Chien-Ying, et 莊千瑩. « The Pedagogical and Performing Technique Studies of Moszkowski’s Piano Etudes of Op.72 ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/bdxz7r.
Texte intégral
33
Chiang, I.-ching, et 江宜靜. « The Study of Schumann's Symphonic Etudes, Op.13The Technical Problems and Methods of Solving ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/13188148174700188909.
Texte intégral
34
Hsieh, Ming Chin, et 謝明瑾. « An Evaluation of Szymanowski 4 Etudes, Op. 4 from the Viewpoint of Piano Tecnhique ». Thesis, 2015. http://ndltd.ncl.edu.tw/handle/dvqh2d.
Texte intégralRésumé :
碩士輔仁大學
音樂學系
104
Karol Szymanowski(1882-1937) was a successor to Chopin and widely recognized as the bridge between Chopin and twentieth century composers. This thesis focuses on the piano techniques of this early composition - 4 Etudes, Op. 4. There are six chapters in this paper. The first chapter is the development of music history and background in Poland around nineteenth century. The second chapter introduces Szymanowski’s life and discusses his music style. The third chapter is a discussion of all the basic piano techniques through Etudes for better piano playing. The fourth chapter examines piano techniques in Szymanowski’s four etudes Op. 4 . Chapter five is the discussion of how to interpret these 4 etudes. The six chapter is the conclusion. I hope through this thesis can provide a practical performance guide to readers and help them achieve in better piano playing.
35
Huang, Yi-Ching, et 黃奕菁. « Interpretation Report of Graduate Concert by Huang Yi-Ching:Schumann Symphonic Etudes, Op.13 (Version 1862) ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/4mmu6f.
Texte intégral
36
Hsiang-Hao, KUO, et 郭翔豪. « An Analysis and Interpretation of Nikolai Kapustin Eight Concert Etudes, Op. 40, Nos. 1-3 ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/93956803004323419451.
Texte intégralRésumé :
碩士臺北市立教育大學
音樂學系碩士班
99
Abstract The essay focuses on interpreting and analyzing three little pieces Prelude, Reverie, and Toccatina. Those are from his piano work Eight concerto Etudes, Op.40 which composes by a Russian composer Nikolai Kapustin（1937-） in twenty century. A Russian composer, who, combines classical music with the jazz elements in the twenties. There are many materials, among his music, including rich harmony, varied rhythm, and jazz effects with symphonic style, also the complicated phrases, etc… Those ideas make a new way of Kapustin’s music, and also reflect his style which is delicate and creative. The music of Kapustin is multifaceted. He has composed many different types of music like piano concerto, symphony, chamber, and the instrument music. However, piano music is the major part of them. Eight concerto Etudes, Op.40 associates the classical form with jazz materials, irregular phrases and rhythm together. Besides, we could see the similarity of their name, which is given from him, between the pieces in Romantic and classical period. By analyzing and studying Eight concerto Etudes, Op.40, we will see the differences of his music from other composer. Furthermore, I will discuss the relation between his background and the characteristics of using jazz idea. It will include the harmony ideas, the way and style of composition, and how to perform it. Based on the study, we could precisely control the main bone and well-performed this piece.
37
Zeng, Sin-Yi, et 曾欣怡. « To investigate the composition and skills of the Four Etudes for Piano, Op.7 by Igor Stravinsky ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/51092332497627128000.
Texte intégralRésumé :
碩士東吳大學
音樂學系
98
The Four Etudes for Piano, Op.7 had been seen revealing the connection with the past and future since it not only lasted the style of 19th century but also expected the following features and techniques such as the repeating figure, use of cross rhythm, and the sudden change of beat, which would all been found in the etudes. This study is to take the Four Etudes for Piano, Op.7 as the research subject in order to understand the composition and techniques of Stravinsky (1882 – 1971) in deep. The first of the Four Etudes for Piano, Op.7 was in the style of Scriabin: duple and triple time formed the melody in right hand and the accompaniment of quintuplets was continuous in the left simultaneously. The major difficulty was how to keep the harmony and the quality of quintuplets at the same time. The second kept the characteristic of cross rhythm and changed to six pairs of four or five time; as the result of the expanded gamut in the left with the group of eight notes in the right hand, fingers had to make a quick movement on the keyboard. Aside from the figure and rhythm problems, the composer asked to perform smoothly with staccato so that it was the hardest one in the etudes. Unlike the first two, the third differed from them dramatically, applying a large number of semitones instead of harmony. It was quite traquillo and to test the ability of controlling keyboard from a performer who had to play in the P volume with smooth melody and to overcome the interval for the right hand in the whole tune. Finally, the forth, the one with the highest value, was performed most frequently. Stravinsky created the processing power by means of repeating figure like the second; they both needed to play in different touches. In these similar materials, performers had to find out the potential and to present it, which also trained the independence and clearness of fingers.
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Košíček, Vít. « Klavírní dílo S. Prokofjeva a jeho interpretační přínos ». Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-334729.
Texte intégralRésumé :
The purpose of this thesis is to introduce a musical work of one of the world's most favorite composers of the 20th century - Sergej Prokofiev. Even though I would like to address all his pieces, given the extensiveness of his work and my profession as a pianist and a pedagogue, I decided to focus only on the pieces for solo piano. I detail each piano piece in a catalogue organized by opus number. My analysis focuses on compositions, eventually on cycles, which can be somehow beneficial to us. Beneficial, in this sense means exposure to pieces with variety of character, use of melody and eventually pieces from a various work periods. Another condition during a selection of pieces for my dissertation was various levels of difficulty. The majority of my thesis is dedicated to the piano sonatas. Although they are not very long, they belong to the piano masterpieces forever. Further, I mention less performed Etudes, Op. 2 and Visions fugitives, Op. 22, and on the other hand well known Suit from Romeo and Juliet, Op. 75. The music for children is represented in my analysis by one piece only - Children's Songs, Op. 65. Prokofiev wrote nearly 40 opuses for piano, which makes up almost a third of his work. That is a remarkable number and these pieces are worth interest.
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WEI-TING, WANG, et 王薇婷. « Analysis of Essential Performance Techniques and Compositional Styles for 《Four Etudes》 Op. 2 by Sergey Prokofiev(1891-1953) ». Thesis, 2015. http://ndltd.ncl.edu.tw/handle/17807211726268436101.
Texte intégralRésumé :
碩士東吳大學
音樂學系
103
The purpose of his study is to analysis and discuss the compositional styles and the perform problems.《Four Etudes》Op.2 was written in early Russian period. At that time, Prokofiev began his piano studies with Esipova. In these four years of study with Esipova were the turning point in his pianistic abilities and helped him become an excellent pianist. Amount of Prokofiev’s piano works, this piece is less studied than others. Each piece is short and delicate, yet contains complicated and difficult techniques. Moreover, the whole etude is not only composed for one single technique, but also combined several elements to be challenged such as octaves, repeated notes, fast moving and crossing hands...etc. His theory of piano resonance is fully connected with the piano techniques. His music and technique styles are also displayed successfully in this work. Keyword: Prokofiev, Etudes, Four Etudes 
40
LIANGKUO, WU, et 巫良國. « A study and comparison of Moscheles'<<24 studien für Pianoforte op. 70>> ; and Moszkowski's <<15 Etudes de Virtuosité Pour Piano op. 72>> ; ». Thesis, 2009. http://ndltd.ncl.edu.tw/handle/95658994842395216640.
Texte intégralRésumé :
碩士國立臺北教育大學
音樂學系碩士班
98
A study and comparison of Moscheles’《24 studien für Pianoforte Op. 70》 and Moszkowski’s 《15 Etudes de Virtuosité Pour Piano Op.72》 Ignaz Moscheles（1794— 1870）and Moritz Moszkowski（1854—1925）composed many important Etudes and both of them are great pianists and piano teachers. The first purpose of this study is to compare the biographies and contributions to the classical music history of Moscheles and Moszkowski. Secondly,each piece of Moscheles’《24 Studien für Pianoforte Op. 70》and Moszkowski’s《15 Etudes de Virtuosité Pour Piano Op.72》is examined through ‘content analysis’. The tool is called ‘A list of the categories of piano etude playing techniques.’ After investigating every piece in these two sets of Etudes, an overview of their value on piano pedagogy will be explained. In conclusion, the writer wishes to provide advices for related piano educators, academic musical researchers and sheet music publishers of Taiwan. Keyword: Moscheles, Moszkowski, études, piano pedagogy
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Chen, Kuei-Yu, et 陳奎諭. « Kuei-Yu Chen piano recital with sipporting paper interpretation on Stravinsky`s early compositional traits : studies based on his four etudes, Op.7 ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/77463911565765650413.
Texte intégralRésumé :
碩士國立交通大學
音樂研究所
101
As one of the greatest composers in the twentieth century, Stravinsky, who utilized daring forward approaches challenging traditional music styles, was on the cutting edge. The subject of this paper, 《Four Etudes, Op.7》, was composed in his early Russian period, and also served as the only set of piano etudes in his career. Through this work, the author has discovered some of Stravinsky’s distinct techniques featured specifically in this period, such as imitation on Scriabin’s compositional style, the use of repetition on the same figures, and the displacement between bar lines and rhythmic patterns. These features are discussed individually here in this thesis, and through making comparisons with other same period works of Stravinsky’s, in rhythmic structure, musical conception, and other compositional elements, the author seeks for a better understanding on the contextual background to this work.
42
PENG, YU-FANG, et 彭榆芳. « This Dissertation Focuses on The Work 8 Concert Etudes, Op. 40 By Nikolai Girshevich Kapustin (1937), With a Formal Analysis of Nos. 1, 3. 6 And 8 ». Thesis, 2018. http://ndltd.ncl.edu.tw/handle/d4xvf9.
Texte intégralRésumé :
碩士東吳大學
音樂學系
106
This dissertation focuses on the work 8 Concert Etudes, Op. 40 by Nikolai Girshevich Kapustin (1937), with a formal analysis of Nos. 1, 3. 6 and 8. Included are suggestions for interpretation and solving technical challenges. This set of Etudes continues the baroque tradition of the keyboard suite as well as the Romantic tradition of the piano etude. Through jazz styles such as ragtime, stride, swing, bounce or funk, Kapustin weaves counterpoint to create stunning works of virtuosity that pianists love to perform and audiences love to hear.
43
Kwak, Jason Jinki. « Mastering Chopin's Opus 25 a pianist's guide to practice / ». 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110727.
Texte intégral
44
Lee, Mei-Hui, et 李美慧. « A Study of Teaching Czerny’s Etude, Op. 849 and Moszkowski’s Etude, Op. 91 ». Thesis, 2014. http://ndltd.ncl.edu.tw/handle/39500691372603706369.
Texte intégralRésumé :
碩士國立臺北教育大學
音樂學系碩士班
103
This study aims to explore the teaching of two sets of piano etudes, namely, Czerny’s Études de Mécanisme, Op. 849 and Moszkowski’s Vingt Petites Études, Op. 91. This research, being based on the intermediate level skills classification of piano pedagogy literature of domestic and overseas areas, conducts content analysis and qualitative narrative research methods. This thesis is divided into five chapters: the first chapter explains the motivation and purpose of the study, limitations of the study, research methods and steps, and definitions of terms as used in this study. The second chapter expounds the origin and development of piano pedagogy, and through the study of piano playing theories, provides correct methods for piano teachers to use in teaching; by way of summarizing the relevant literature of the evolution and classification of piano etudes, selection of teaching materials and classification of intermediate level skills, increases reference materials for teachers to choose. The third chapter discusses the lives and works of two composers respectively in order to understand their music styles and characteristics. The forth chapter uses content analysis research method to analyze etude contents and playing skills of each etude. The fifth chapter sums up the conclusion of contents discussed all above. The etudes in Czerny’s Op. 849 contain abundant main practicing skills and clear training goals. And the etudes in Moszkowski’s Op. 91 contain a number of skills which are not too difficult to play, with beautiful melodic lines and full of imagination. This study expects to help students understand the certain purpose of playing etudes and connect similar theories learnt previously with skills in order to practice these two works more efficiently. While teaching students to master playing skills, teachers should let students understand the differences of these two composers’ creative and interpretative styles, improve the cognition and mastery of music performance in order to achieve the multiple values of etudes.
45
Ju, Huang Yu, et 黃毓茹. « The Interpretation of Schumann:Symphonic Etude Op.13 ». Thesis, 2005. http://ndltd.ncl.edu.tw/handle/27096024978105224845.
Texte intégralRésumé :
碩士中國文化大學
音樂研究所
93
Despite the fact that Schumann’s "Symphonic Etudes" op.13 was classified as an "Etude", it was composed more in the form of a "Variation", but with "Etude" characteristics. The fundamental spirit of this work is, in fact, based on a" Variation", different performing techniques on the Main Theme were cleverly woven into each and every section to demonstrate a diversified change of moods. The versatile writing methods the composer used has separated this work from the normal "Etudes" in the sense that, through the application of skillful performing proficiency, monotonic repetitions are replaced with a style that is extremely rich in musical colors. The ultimate goal of this thesis is to analyse the performing interpretation of this work including studies on the performing techniques and styles. The research begins from a theoretical angle, and then progresses into the musical interpretation phase. The development of the Performing Style is based on an in depth knowledge of musical theory. Not only is it necessary to fully understand the style of the work and the background of both the composer and the music, more importantly, it is critical that, after researching on the theory, an actual exploration is taken on how to express the performer’s internal emotion through the performance. Within the exploration journey, the performer have extracted the most appropriate way to present the emotion invoked by the music, hence making it a convincing performance by breathing life into it. Please note that, after various revised publications by Brahms, Clara, and the Composer himself, each edition bears a variation in both content and title. The version used by the author is based on the forth edition of 1873, this is the most complete version including five later-added sections (Anhang). Furthermore, in order to avoid confusion, the word "Thema" is used to represent the Main Theme in all 18 sections; the first to the twelfth variation is named "Etude"; the final section is named "Finale"; and the extra five variations is named "Variation". Please understand that this naming method is for the purpose of simplifying the research only, it, of course, differs from the original version in a number of places. Keywords: Schumann、Piano Variation、Etude、Piano Music.
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Hsiao, yin-ying, et 蕭嫈殷. « Tyzen Hsiao''s piano works of (memorise of home Op.49)(Toccata Op.57)(Etude Op.55)discussion ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/b67j85.
Texte intégral
47
Hsu, Wen-hsuan, et 許雯絢. « A Study of Sergei Rachmaninoff ‹Etude-Tableaux, Op.39› ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/79420346520684511651.
Texte intégralRésumé :
碩士國立中山大學
音樂學系研究所
99
Sergei Vasilievich Rachmaninoff (1873-1943) is one of the greatest representatives of Russian classical music in the early twentieth century. In addition to being a successful composer, Rachmaninoff was also a great concert pianist and a conductor. He had written 237 musical compositions, including piano, instrumental, orchestral, and vocal music. As an outstanding pianist, he had well-received tours in Russia, America, and Switzerland. He conducted many operas and orchestral works in Russia. This paper will discuss the compositional background and the compositional techniques in Rachmaninoff’s〈Etudes-Tableaux, Op.39.〉, with a special focus on the images that inspired Rachmaninoff to compose these etudes. 〈Etudes-Tableaux, Op.39.〉was composed between 1916 and 1917; these etudes enriched the genre of piano etudes initiated by the previous romantic composers. This composition contains abundant expressive images rather than merely monotonous piano techniques which increase the artistic value of this composition.
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Wu, Chia-Chi, et 吳佳熹. « An Analysis and Interpretation of Tyzen Hsiao’s《Memories of Home》op.49 and《Farewell Etude》op.55 ». Thesis, 2014. http://ndltd.ncl.edu.tw/handle/32s277.
Texte intégralRésumé :
碩士國立臺北教育大學
音樂學系碩士班
103
Hsiao Tyzen (1938-) is a Taiwanese musician who has established an international reputation. His music is styled romantically with natural tunes, which is incredibly moving and beautiful. His composing techniques focus mainly on western classic music; but he combines western harmonics, Chinese pentatonic scale, and Chinese heptatonic scale and blends them in with Taiwanese folk music. His music is known for its romantic style, distinctive “Taiwanese flavor”, combined use of Chinese and western compositional skills, and a flavor of church music. His music is especially unique among various contemporary pieces today. Hsiao Tyzen dabbles into different types of music works; he has composed piano solos, instrumental solos, art songs, sacred choral pieces, symphonies, concertos, etc. Among all his works, the number of piano pieces is quite small. This thesis will discuss 《Memories of Home》, Op. 49 and 《Farewell Etude》, Op.55 and explore backgrounds of musical composition, styles, analysis on each piece, and interpretations on performances. The first chapter states research motives and purpose. The origins and development of suit and etude are also briefly discussed . The second chapter consists of Hsiao Tyzen’s life, music style, and piano music. Chapter three includes analysis on 《Memories of Home》, Op. 49 and《 Farewell Etude》, Op.55 respectively in terms of their creative materials, melodies, harmony, rhythm and other aspects. The interpretations of these two works are presented in the fourth chapter and the fifth chapter concludes the characteristics of Hsiao’s piano works and compare the similarities between F. Chopin’s and S. Rachmaninoff’s piano works. Key Words: Hsiao Tyzen, romantically, Taiwanese flavor
49
Weng, Yi-Chi, et 翁意期. « An Analysis and Interpretation of Cellist Piatigorsky''s Cello Transcriptions from S. Prokofiev''s “Music for children” Op. 65, No. 10 and A. N. Scriabin''s “Etude” Op. 8, No. 11 ». Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f7tqqk.
Texte intégralRésumé :
碩士台南應用科技大學
音樂系碩士班
105
Gregor Piatigorsky (1903-1976) is one of the most important cellists in the twentieth century who played multiple roles in being a performer, a composer and an educator. He composed and transcribed a variety of works for cello, which had a profound impact on the future cellists’ technique development. This report focuses on the analysis of Piatigorsky’s transcribed works from S. Prokofiev''s "Children for Music" (Op. 65, No. 10) and A. Scriabin''s "Etude" (Op. 8, No. 11). This paper emphasizes both “literature review” and “composition analysis ” to study Piatigorsky’s musical characteristics and transcriptional styles. Regarding the result of literature reviews, Piatigorsky pointed out several elements for a successful performance, including thorough comprehension of musical meanings, truly loving the music you play, expressing musicality faithfully, singing in one’s mind, and on the cello, fingerings suiting the music, etc. Regarding the result of composition analysis, Piatigorsky’s transcribed works have a variety of characteristics, including string, decorative, poly-instrument, contrast, lyrical, and skill characters. The transcribed works might be more pleasant than the original works due to the influence of characteristics mentioned above. In these transcribed scores, Piatigorsky emphasized the characters of stringed instruments, added the clever decorative ornaments, strengthened the disposition of musical instruments, adjusted the parts to increase the contrast in the music, as well as subjoined dynamics and accents to intensify the lyrical characters. I hope this research paper can be a reference for academic researchers and audiences to better understand Piatigorsky''s musical style and interpretation, also for cellists to produce a more successful performance.
50
Liu, Chih-chun, et 劉持均. « Analysis of the Piano Learning Process of Autism─A Case Study of Chopin Etude op.10 No.3 ». Thesis, 2009. http://ndltd.ncl.edu.tw/handle/86955130089103463810.
Texte intégralRésumé :
碩士東吳大學
音樂學系
98
The purpose of the thesis is to probe into a musical genius who suffers from autism on the performing progress of piano music. From the practice in Chopin Etude op.10 N0.3 , the person with the autistic syndrome is recorded the effect on the learning process as well as the feeling and the expression on music to the autisms. In this study, the research is built on qualitative research; the participant who was completely recorded and the session were included 14 times from the choosing music to performance. The data was collected by narrative. Following the information Process Model and theory of mind, this thesis aims to comprehend the participant and tell from the discrepancy and similarity in obstinacy, implementation, social interaction and the expressions on music. The objective of the study is to find out the children autistics with musical genius via the superiority and limitation on musical performance. I would like to take this study to provide the ideas and viewpoints to the parents.