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Rozprawy doktorskie na temat „Penderecki”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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1

Droba, Krzysztof. "Penderecki nach Iwaschkin." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70566.

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2

Andraschke, Peter. "Penderecki in Donaueschingen." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70573.

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Krones, Hartmut. "Krzysztof Penderecki und Wien." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70567.

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4

Loos, Helmut. "Krzysztof Penderecki im deutschen 'Spiegel." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70570.

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5

Malecka-Contamin, Barbara. "Krzysztof Penderecki : style et matériaux." Paris 8, 1996. http://www.theses.fr/1996PA080920.

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La recherche a pour theme krzysztof penderecki : style et materiaux. Elle s'organise et se presente sous trois angles d'approche correspondant aux trois parties respectivement intitulees : "histoire", "analyse", "concept". Dans la premiere, on se propose de donner quelques precisions sur la vie musicale en pologne apres la deuxieme guerre mondiale et sur l'evolution de la composition contemporaine de la musique dite savante. Dans la seconde partie, on procedera a l'analyse des elements du langage, du "sonorisme" et des rapports qu'entretient la partie musicale avec son equivalent litteraire. E

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6

Mirka, Danuta. "The sonoristic structuralism of Krzysztof Penderecki /." Katowice : Music Academy, 1997. http://catalogue.bnf.fr/ark:/12148/cb369654996.

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7

Loos, Helmut, and Stefan Keym. "Krzysztof Penderecki: Musik im Kontext: Konferenzbericht Leipzig 2003." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70554.

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Am 17. Oktober 2003 verlieh die Fakultät Geschichte, Kunst- und Orientwissenschaften der Universität Leipzig Krzysztof Penderecki 'als einem Repräsentanten polnischer Kultur im Widerstand gegen den Kommunismus in Anerkennung seiner Verdienste um die Weiterentwicklung der Neuen Musik seit den 1950er-Jahren sowie die deutsch-polnischen Kulturbeziehungen und die Verständigung zwischen den beiden Ländern' die Ehrendoktorwürde. Aus diesem Anlass fand vom 17. bis 19. Oktober 2003 am Institut für Musikwissenschaft der Leipziger Universität eine internationalewissenschaftliche Konferenz statt.:Einleit

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8

Tomaszewski, Mieczysław. "Krzysztof Penderecki: Wandlungen und Knotenpunkte des schöpferischen Weges." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70676.

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9

Dissinger, Bettina. "Das musikalische Zitat bei Krzysztof Penderecki: Verwendung und Wirkung." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70768.

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10

Kelly, Michael. "An Exploration of Pitch Organization in Krzysztof Penderecki’s Passion According to Saint Luke." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296593846.

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11

Jeong, Hye Min. "Das musikalische Material und seine Behandlung im Frühwerk von Krzysztof Penderecki : eine Studie zum Cluster und zur Klangfarbe /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2007. http://catalogue.bnf.fr/ark:/12148/cb41068005h.

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12

Weiss, Stefan. "Penderecki und Ligeti: Zur Rezeption der Klangkomposition in der BRD." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70572.

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13

Janicka-Słysz, Małgorzata. "The Idea of dramaturgy in instrumental concertos of Krzysztof Penderecki." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70764.

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14

Jarzębska, Alicja. "Krzysztof Penderecki's 'Ars contrapuncti." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70767.

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15

Chŏng, Hye-min. "Das musikalische Material und seine Behandlung im Frühwerk von Krzysztof Penderecki : eine Studie zum Cluster und zur Klangfarbe." Frankfurt am Main [u.a.] Lang, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015673967&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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16

Penderecki, Krzysztof. "Rede anlässlich der Verleihung der Ehrendoktorwürde der Universität Leipzig am 17. Oktober 2003." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70579.

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17

Siemdaj, Ewa. "Types of Climaxes in Krzysztof Penderecki's Symphonic Works." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70765.

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18

Philippi, Daniela. "Traditionelle Muster als Material: Zur Konzeption der 3. Symphonie Krzysztof Pendereckis." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70766.

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19

Keym, Stefan. "Krzysztof Pendereckis 'Sacra Rappresentazione' Paradise Lost und das religiöse Musiktheater im 20. Jahrhundert." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70769.

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20

Behrendt, Allmuth. "Offen für Veränderung: Modifzierung einer Werkgestalt am Beispiel von Krzysztof Pendereckis Oper Die Teufel von Loudun." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70770.

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21

Chrenkoff, Magdalena. "Krzysztof Penderecki in Polish Musicological Writings of the Last Decade (1992-2003)." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70565.

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22

Gebuhr, Ann. "Near the Center of the Labyrinth: Krzysztof Penderecki in the New Millenium." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70677.

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23

Hubley, Katherine Louise. "Site and Sanctuary in Holocaust Memorial Compositions by Krzysztof Penderecki and Ruth Fazal." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242675619.

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24

Cadenbach, Rainer. "Gattungsbeiträge oder was?: Pendereckis Kammermusik für Streicher." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70563.

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25

Daley, Paul B. (Paul Byron). "An Investigation of Textural Activity and Its Hierarchical Structures in Selected Works by Krzysztof Penderecki." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500894/.

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This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio f

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26

Gutknecht, Dieter. "Zur Uraufführungsgeschichte der Lukas-Passion von Krzysztof Penderecki: (nach den Unterlagen des Westdeutschen Rundfunks Köln)." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70571.

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27

Sturman, Esra. "Krzysztof Penderecki’s Divertimento/suite for Cello Solo (1994-2013): a Stylistic Analysis and Performance Guide." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500083/.

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Penderecki made a tremendous variety of contributions to the cello repertoire. His profound respect for tradition and for his past is deeply appreciated by both performers and audiences. In each individual composition, he explored the cello’s sonorous possibilities and created a new technical and musical palette for the instrument. He worked with legendary, world-renowned cellists who not only gave the premieres of his works but also established deep friendships with him. The Divertimento/Suite for Cello Solo (1994-2013), a compilation of miniature movements, each with its sophisticated struct

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28

Cain, Peter L. "A “Farewell” to His Past: Krzysztof Penderecki’s Clarinet Quartet and Sextet." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336683462.

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29

Malecka, Teresa. "Elements of Russian Orthodox Culture in the oeuvre of Krzysztof Penderecki as exemplified in Utrenya I and II." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70679.

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30

Robinson, Ray. "Recapitulation through Synthesis: Penderecki's Reception in the United States." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70569.

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31

Poston, Paul W. "On the Creation of Matter." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/417.

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On the Creation of Matter is a ten-minute composition for orchestra in which I explore large-scale musical texture through the use of uncommon orchestral techniques. The piece is comprised of three major sections: the introduction of space and time, the event, and the culmination. Each section features new textures while retaining harmonic references to earlier material. Heavily influenced by the works of György Ligeti and Krzysztof Penderecki, On the Creation of Matter musically captures the initial stillness of space and time and follows their transformation through a major astronomical ev

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32

Homma, Martina. "Sozialistischer Realismus und '11. September'?: Über Reaktionen und Überreaktionen auf Krzysztof Pendereckis Klavierkonzert (2002)." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70564.

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33

Chlopicka, Regina. "Links between Penderecki's Music and the Polish National Tradition." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21346.

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34

Kowal, Roman. "Krzysztof Penderecki's Actions and the Polish Jazz Awakening of the 1950s and 1960s." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70574.

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35

Slavický, Milan. "Auswirkungen der 'polnischen Schule' auf die tschechische Musik der 1960er-Jahre." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70568.

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36

Loos, Helmut, and Stefan Keym. "Einleitung." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70578.

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37

Chłopicka, Regina. "Krzysztof Penderecki's St. Luke Passion, Polish Requiem and Credo in the Context of Polish History." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70678.

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38

Kiwała, Kinga. "Zum Problem der Dialektik in der Musik: Krzysztof Pendereckis Musik in den späten siebziger und frühen achtziger Jahren des 20. Jahrhunderts." Gudrun Schröder Verlag, 2019. https://ul.qucosa.de/id/qucosa%3A70775.

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Die Dialektik des künstlerischen Schaffens nach Władysław Strózewski 'Pendereckis Werk ist eine große musikalische Umsetzung der Dialektizität. Einer Dialektizität, die sich zwischen Extremen erstreckt, diese Extreme irgendwie aufhebt, dabei aber zugleich ihre Existenz stets aufrechterhält.' So äußerte sich über die Musik des Schöpfers des Polnischen Requiems in den siebziger Jahren des vergangenen Jahrhunderts Władysław Strózewski, einer der führenden polnischen Phänomenologen, ein Schüler Roman Ingardens, der ins Zentrum seiner Kunstphilosophie das Problem der „Dialektik des Schaffens“ stell

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39

Embeoglou, Michail. "La notion de texture dans la musique post-sérielle." Paris 4, 1997. http://www.theses.fr/1997PA040055.

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Cette thèse examine les diverses applications de la notion de texture dans la musique contemporaine. Introduit en 1959 par le compositeur Gyorgy Ligeti comme élément indispensable de la composition, la texture sera la préoccupation majeure pour de nombreux compositeurs dans les années 1960. C'est a ce titre que la musique de texture est considérée aujourd'hui comme le premier courant musical d'importance après le sérialisme intégrale. Notre thèse examine l'application que ce terme a su trouver dans quatre domaines différents de la composition musicale : le choix des sonorités, l'écriture, l'or

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40

Fryklund, Aaron. "Perspectives on The passion according to the gospels of Matthew and John." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9780.

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Oratorio, for baritone (Jesus), male or female narrator (Evangelist), tenor (Pilate), 2 basses (Peter, Caiaphas), soprano woman accusing Peter), chorus (SATB), organ, string orchestra, and tape. Texts from Matthew, John, and Psalms. Duration: 33:00. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 47).

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41

Bringezu, Nicole [Verfasser]. "Rezeption und Konstruktion. Aspekte ‚wissenschaftlicher‘ Legitimation musikästhetischer Kommunikation am Beispiel KRZYSZTOF PENDERECKIS / Nicole Bringezu." Wuppertal : Universitätsbibliothek Wuppertal, 2020. http://d-nb.info/1223989240/34.

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42

Wang, Amanda. "An analysis of Krzysztof Penderecki's String Quartet No.3: "Leaves of an Unwritten Diary"." Thesis, Boston University, 2013. https://hdl.handle.net/2144/12876.

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Thesis (D.M.A.)--Boston University<br>Penderecki's String Quartet No. 3: Leaves from an Unwritten Diary was commissioned by the Shanghai Quartet in 2008 and premiered at a special 75th birthday concert honoring the composer. The quartet is a single movement work consisting of four to five short sections of contrasting tempos and character. Stylistically, the quartet is quite representative of his chamber works since the 1990's, and stands in sharp contrast to the first two quartets from the avant-garde period. The purpose of this dissertation is to provide an historical background, formal and

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43

Reiter, Erica Amelia 1968. "Krzysztof Penderecki's Cadenza for Viola Solo as a derivative of the Concerto for Viola and Orchestra: A numerical analysis and a performer's guide." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289622.

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The intent of this study is to explore the musical, structural, and intervallic relationship between Krzysztof Penderecki's two works for viola, the Concerto for Viola and Orchestra and Cadenza for Viola Solo. The Concerto for Viola is a twenty-minute work accompanied by full orchestra; the Cadenza for Viola Solo is an eight-minute solo work. In these viola works, Penderecki has encapsulated the characteristics of the viola: the tone, technical capacity, and character. Both of Penderecki's viola works demand and reinforce the unique qualities of the viola. This document provides a performance

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44

Chang, Po-Jung, and 張珀榮. "A Study of Capriccio für Tuba solo by Krzysztof Penderecki." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/7mzeq9.

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45

"A Comparative Analysis of the Two Sonatas for Violin and Piano by Krzysztof Penderecki." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38612.

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abstract: One of the most notable composers of the twentieth century, Krzysztof Penderecki played a vital role in the development of new sonorities and compositional movements in the latter half of the century. Penderecki wrote two sonatas for violin and piano, one in his student days in 1953 and the second in the twilight of his career in 1999. Given the almost fifty years that separate the two works, these sonatas provide valuable insight to Penderecki’s development as a composer over the course of his career as well as give evidence that his own unique compositional style was in place at a

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46

Keym, Stefan. "Internationale musikwissenschaftliche Konferenz ”Krzysztof Penderecki - Musik im Kontext“: Leipzig, 17. bis 19. Oktober 2003." 2004. https://ul.qucosa.de/id/qucosa%3A15815.

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47

Kroko, Kate. "Graduate Recital, Viola." 2012. http://digital.library.duq.edu/u?/etd,154246.

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This recital explores the solo viola literature of the 20th and 21st centuries. Pieces range in date from 1922 to 2005 and present the various styles and techniques of virtuoso viola playing developed in the modern era. The selection of pieces presented on this recital chronicles the viola��s journey to become a legitimate solo instrument in the 20th century. Works performed include: Cadenza per viola sola by Krzysztof Penderecki, Purple Rhapsody for Viola and Orchestra by Joan Tower, Suite for Viola Solo (Unfinished) by Ernest Bloch, Lamentations of Jeremiah for Viola Solo by Milton Barnes,

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48

Dissinger, Bettina. "Internationales Symposium ”Krzysztof Penderecki - Muzyka ery intertekstualnej / Music of the Intertextual Era“: Krakau, 12. bis 14. Dezember 2003." 2004. https://ul.qucosa.de/id/qucosa%3A15819.

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49

Chen, Hsiao-Yin, and 陳筱茵. "Hsiao-Yin Chen Viola Recital With A Supporting Paper:A study on Viola Concerto by Krzysztof Penderecki: Interpretation and Analysis." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/33973659741665647202.

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碩士<br>國立交通大學<br>音樂研究所<br>99<br>The research subject of this thesis is the viola concerto by the Poland composer Krzysztof Penderecki, written in 1983. The paper also mentioned the other work “Viola Cadenza” by Krzysztof Penderecki in 1984, which uses common basics and shares the connection with the concerto. By tracing the composer’s musical studies and life experiences, much can be understood about his compositional characteristic, the various stages of his musical styles and the principles that he holds for music writings. The quest of a truthful performance of the concerto is to be based on

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50

Lai, Yen-lin, and 賴彥陵. "Contemporary Composers'' War Experiences and the Related Works: Case Studies on the Music of Messiaen, Schoenberg, Penderecki and Britten." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/jgtxus.

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碩士<br>國立臺北藝術大學<br>音樂學研究所碩士班<br>98<br>Wars have been reoccurring in human history, regardless of the fact that they have brought the world nothing but destruction and death. In early twentieth century, the rise of imperialism and industrial revolutions accelerated the developments in science and technology. These progressions, along with racial and political conflicts, inevitably led to the World Wars. The cruelty and bloody catastrophe of both World Wars have made people realize the preciousness and value of life. They have also stimulated people to desire and pursue peace. Composers who simil

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