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Tesi sul tema "Concertos"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

Baczewski, Philip. "Vox Organalis." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331310/.

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Vox Organalis is a concerto for organ and orchestra. It employs an ensemble comprising the compliment of wind, percussion, and string instruments normally available within a contemporary symphony orchestra with augmented brass and woodwind sections. It is intended to be performed with a large organ such as might be found in a symphony hall or large church. The work is in two movements, and its intended performance time is twenty-five minutes. Use of the concerto format within Vox organalis results in a new approach to organizing the interaction between the solo part and the orchestral accompa

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2

Choroba, Volker. "Das Konzert für Orgel und Orchester im 19. und 20. Jahrhundert /." Kassel ; Basel ; London : Bärenreiter, 2001. http://catalogue.bnf.fr/ark:/12148/cb377129043.

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3

Billing, Sally. "Bacewicz : the violin concertos." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.

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This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devo

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4

Forster, Robert. "Die Kopfsätze der Klavierkonzerte Mozarts und Beethovens : Gesamtaufbau, Solokadenz und Schlussbildung /." München : W. Fink, 1992. http://catalogue.bnf.fr/ark:/12148/cb355950647.

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5

Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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6

Daussat, David M. "Birth of the modern concerto an explication of musical design and intention in Journey, concerto for contrabass tuba and orchestra /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6116.

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Abstract (sommario):

Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 17, 2002, June 14, 2004, Oct. 18, 2004, and Nov. 26, 2007. Includes bibliographical references (p. 30-32).

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7

Stewart, Brandon (Brandon Gregory). "Horn Concerto in E-flat Major (C41) by Antonio Rosetti: A Critical Edition." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609216/.

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Abstract (sommario):

This project delivers to the scholar and performer a critical edition of a little-known horn concerto by Antonio Rosetti. Standing in contrast to performance or practical editions, critical editions demand that the editor exerts a non-trivial measure of authority over the state of the text. Performers often find this fact to be uncomfortable given the normal tendency to revere the perceived intent of the composers based upon the text that they set down. When engaging with sources, it is rarely clear what that intent is, or which of the available sources most closely represents that intent. Tho

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8

Rishton, Timothy J. "Thomas Chilcot and his concertos." Thesis, Bangor University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282264.

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9

Howard, Christopher Eugene. "Piano concerto." Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.

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10

Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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Abstract (sommario):

As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my ar

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11

Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.

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Abstract (sommario):

The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a ron

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12

Gonçalves, António Jorge Santa Barbara. "Os concertos no tempo de Sor." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7451.

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Abstract (sommario):

Mestrado em Música<br>O presente texto serve de apoio ao projecto instrumental “Um concerto no tempo de Sor” que teve como modelo o concerto ecléctico, cuja forma de estruturação é a mais frequente ao longo de toda a primeira metade do século XIX. Este tipo de concerto caracteriza-se essencialmente por uma programação alternando participações instrumentais e vocais, dentro de várias combinações possíveis, intercaladas, na maioria dos casos, com solos instrumentais. Assim, este trabalho teve como principal intuito reunir elementos que permitam uma reflexão sobre o modelo de concerto ecl

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13

Coldicott, Ann-Louise. "A source study of Beethoven's concertos." Thesis, University of Manchester, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667770.

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14

Potter, David. "Concertino for Tuba, Winds, and Percussion." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500331/.

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Abstract (sommario):

Concertino for Tuba, Winds, and Percussion is a work for solo tuba and an ensemble consisting of two flutes, two oboes, two clarinets, bass clarinet, bassoon, four horns, two trumpets, two trombones, bass trombone, and three percussionists. The percussionists play small, medium, and large suspended cymbals, triangle, tam tam, metal wind chimes, five tom toms, snare drum, tenor drum, bass drum, two sets of two timbales, five temple blocks, maracas, glockenspiel, vibraphone, chimes, xylophone, marimba, and five timpani. The three movements of the work follow the arrangement of the standard conce

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15

Lee, Jung-Eun. "Aspects of piano performance : stylistic analysis of the concerto in D, op. 13, for piano and orchestra by Benjamin Britton." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1354643.

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The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of

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16

Worlton, James Timbrel. "Systematic Composition and Intuition in a Concerto for Organ and Orchestra." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4278/.

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Abstract (sommario):

Historically, composers have used methods in addition to inspiration in writing music. Regardless of the source materials they used, composers ultimately rely on their musical sensitivity to inform the compositional decision-making. Discuses the rotational aspects of decimals that are created from certain prime-number denominators, and focuses on the prime number 17. Shows how these decimals can be transformed by converting them to different number bases. Looks at the Golden Proportion and its use in creating formal structures. Examines compositional and aesthetic issues arising from using num

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17

Daussat, David M. "Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6116/.

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John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York t

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18

Yoo, Kyungjin. "Oration, Concerto Elegiaco by Frank Bridge: A Practical Guide for Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538701/.

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English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature composi

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19

Duhaime, Ricky Edward. "A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331084/.

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The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed

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20

Simonson, Eric. "E/F : a concerto for MIDI acoustic piano, concertino group, live electronics, electro-acoustic tape, and chamber orchestra (live or pre-recorded) /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935486.

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Abstract (sommario):

Thesis (Ph. D.--Music)--University of California, San Diego.<br>Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and tech

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21

Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.

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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written

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22

Waseen, Symeon L. "Concerto for piano and orchestra homage to W.A. Mozart /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1124224335.

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23

Bartman, Kristopher M. Mobberley James. "Piano concerto no. 1." Diss., UMK access, 2004.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2004.<br>"A thesis in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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24

Jones, Jesse Benjamin. "Piano concerto no. 1 /." Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6041.

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25

Dellinger, Michael Eldon. "An analysis of Frank Martin's Second Piano Concerto /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259125218152.

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26

Hartman, Lee Mobberley James. "Concerto for vibraphone." Diss., UMK access, 2009.

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Abstract (sommario):

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.<br>"A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 30, 2009. Includes performances notes. Online version of the print edition.

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27

Souza, Rodolfo Coelho de. "Concerto for computer and orchestra /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992735.

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28

Tan, Wann-Dar. "Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis and Performance Considerations." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/tan%5Fwann-dar/index.htm.

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Abstract (sommario):

Thesis (D.M.A.)--University of North Texas, 2005.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 2000, Apr. 16, 2001, Nov. 3, 2003, and Mar. 28, 2005. Includes bibliographical references (p. 113-115).

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29

Smith, Erin. "An Annotated Bibliography of American Oboe Concertos." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522354544099437.

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30

Lane, Jay D. "The concertos of Carl Ditters von Dittersdorf /." Ann Arbor, Mich : UMI, 1997. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000289055.

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31

Kotsoni-Brown, Stavria. "The solo cello concertos of Antonio Vivaldi." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366973.

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32

Eccleston, Elizabeth E. "An Annotated Bibliography of Canadian Oboe Concertos." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471254044.

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33

Hart, Shawn Michael. "An analysis of Joseph Schwantner's Concerto for percussion and orchestra." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9772.

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34

Reed, Marc Allen. "An historical and stylistic examination of Charles Chaynes' Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3924/.

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Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconc

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35

Johnson, Crystal. "Abstracts for the mind : a work in three movements for viola and orchestra /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131464908.pdf.

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36

Loesch, Heinz von. "Das Cellokonzert von Beethoven bis Ligeti : Ästhetische und Kompositionsgeschichtliche Wandlungen einer musikalischen Gattung /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb355250027.

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37

Carpinteyro, Eduardo. "Pedagogical aspects in David Popper's four cello concertos." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1195506444.

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Abstract (sommario):

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.<br>Advisor: Lee Fiser. Title from electronic thesis title page (viewed Feb. 5, 2008). Includes abstract. Includes bibliographical references.

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38

Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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39

CARPINTEYRO, EDUARDO. "PEDAGOGICAL ASPECTS IN DAVID POPPER'S FOUR CELLO CONCERTOS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195506444.

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40

Picton, Michael. "Curio shop : concerto for piano and chamber orchestra." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27481.

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v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)<br>Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.<br>It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topi

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41

Ferguson, Sean. "Concerto for piano and orchestra : "Inside passage"." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37726.

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the score of this work.<br>Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my u

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42

關傑卿 and Kit-hing Kelina Kwan. "Cadenza as reception: stylistic and structural analysis of selected cadenzas for the first movement ofBeethoven's piano concerto op. 58." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234197.

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43

Ai, Chia-Huei. "Chopin's Concerto in E minor, op. 11 : an analysis for performance /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265555439094.

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Almeida, Ana Cristina de Oliveira. "Memórias no feminino : o círculo de cultura musical do Porto." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/1152.

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Abstract (sommario):

Mestrado em Música<br>O Círculo de Cultura Musical do Porto é actualmente o único testemunho vivo de uma instituição verdadeiramente nacional que foi fundada em Lisboa em 1934 e que progressivamente se expandiu por Portugal e pelas antigas Colónias portuguesas em África e na Ásia. Inserindo-se num movimento internacional de criação de sociedades de concertos transversal a diversas realidades europeias e do Novo Mundo que aqui serão analisadas, o CCM/Porto tem sido dirigido, desde a sua fundação, num quadro dinástico de sucessão cujos distintos modelos de liderança contribuíram decisivamente pa

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Lehrer, Charles-David. "The Nineteenth-century Parisian concerto /." Ann Arbor : Mich. : UMI, 1990. http://catalogue.bnf.fr/ark:/12148/cb35296154x.

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46

Odenkirchen, Andreas. "Die Konzerte Joseph Haydns : Untersuchungen zur Gattungstransformation in der zweiten Hälfte des 18. Jahrhunderts /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35680110b.

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47

Schröder, Gesine. "Cadenza und Concerto : Studien zu Igor Strawinskijs Instrumentalismus um 1920 /." Köln : Studio, 1996. http://catalogue.bnf.fr/ark:/12148/cb375148833.

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48

Oliver, Jason L. "The Creation of a Performance Edition of the Georg Christoph Wagenseil Concerto for Trombone with Attention Given to the Surviving Manuscripts and Primary Sources of Performance Practice from the Middle of the Eighteenth Century." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30500/.

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Abstract (sommario):

The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such a

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49

Silva, Sara Daniela Marques da. "A música clássica em Portugal está em crise?: uma investigação na região de Aveiro." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15072.

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Abstract (sommario):

Mestrado em Ensino de Música<br>A presente dissertação propõe identificar se a música clássica em Portugal está realmente em crise, recorrendo à análise deste tema através de inquéritos realizados ao público da região de Aveiro. A análise detalhada destes testemunhos revelou pontos condicionantes e outros menos relevantes sob vários aspetos das apresentações ao público dos concertos de música clássica. Sob esta perspetiva dos inquiridos aveirenses, sucedem algumas propostas no que respeita às implicações que estes resultados podem ter na forma como estes concertos são apresentados, mas também

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50

Costa, Anthony J. "A bibliography of chamber music and double concerti literature for oboe and clarinet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117551575.

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Abstract (sommario):

Thesis (Ph.D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center

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