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Bruch, Max an Herman Grimm (4 Briefe)
No full textBRUCH, MAX AN HERMAN GRIMM (4 BRIEFE)
Bruch, Max an Herman Grimm (4 Briefe) (Br555)
Brief 555 (Br555)
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Brief 558 (Br558
Scottish fantasy, op. 46 / Bruch, comp.. Concerto no 5 en la mineur op. 37 / Vieuxtemps, comp. ; Heifetz, vl ; New symphony orchestra of London ; Sir Malcolm Sargent, dir.
No full textTitre uniforme : Bruch, Max (1838-1920). Compositeur. [Fantasie unter freier Benutzung schottischer Volksmelodien. Op. 46]Titre uniforme : Bruch, Max (1838-1920). Compositeur. [Concertos. Violon, orchestre. No 5. Op. 37. La mineur]BnF-Partenariats, Collection sonore - BelieveContient une table des matière
Concerto en sol mineur Op. 26, pour violon et orchestre / Max Bruch, comp. ; Yehudi Menuhin, vl ; Orch. symphonique de Boston ; Charles Munch, dir.
No full textTitre uniforme : Bruch, Max (1838-1920). Compositeur. [Concertos. Violon, orchestre. No 1. Op. 26. Sol mineur]BnF-Partenariats, Collection sonore - BelieveContient une table des matière
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
[[alternative]]Bruch, Max. Violin Concerto G minor
No full text[[abstract]]浪漫樂派的小提琴協奏曲早期發展是以貝多芬及法國樂派的作品為典範寫作的,但加入了更多名家的寫作手法(引人注目的是Sphr, Beriot, Vieuxtemps, Paganini的協奏曲)o 此型式從1850年開始在Mendelssohn, Brahms, Bruch, Tchaikovsky, Dvorak, Saint-Saens, Wieniawski, Lalo手中開花結果o
總和來看, 浪漫樂派的協奏曲發展了以下兩個特色:
(一)以交響曲為標題,但以協奏曲為內容:如拉羅的"西班牙交響曲","白遼士的交響曲"在義大利的哈洛意德"o 前者以小提琴為主奏,後者以中提琴為主奏o 原因乃是藉協奏曲探求交響般的內容與效果o
(二)以交響詩般的構想, 而無一定的結構與格式的自由協奏曲:如韋伯的鋼琴與管絃樂作品:F小調小協奏曲(作品 79)o以單一樂章, 快速度相異的幾個部分串聯而成o 李斯特的兩首鋼琴協奏曲也顯然的因襲交響詩的型式, 與韋伯不同的地方是李斯特不只是串聯幾個部分,而是把主題應用在各個段落,擴大成單樂章型式,以求統一o 李斯特的方法,由聖桑,戴流士(1862~1934)艾爾加(1857~1934)繼承下來o
在浪漫派音樂家中,布魯赫以年輕作曲家的早熟天份開始音樂的職業生涯o他那音調諧美的風格融入了多國民謠風格, 並與"新德國樂派"形成強烈的對比o 例如在作品46蘇格蘭幻想曲 在浪漫派音樂家中,布魯赫以年輕作曲家的早熟天份開始音樂的職業生涯.他那音調諧美的風格融入了多國民謠風格,並與”新德國樂派”形成強烈對比.例如在作品四十六蘇格蘭幻想曲中,結合了從英國蒐集而來的民謠.他的天份不僅是在戲劇性的作品上,在敘事詩表現的作品中也顯露無遺.終其一生,被認為最重要的作品並不是歌劇,而是世俗的讚美詩小品,如作品四十一”Odysseus”,作品四十五”Das Lied von der Glocke”,作品五十”Achilleus”,作品五十二”Das Feuerkreuz”.
他特有的音樂性及合唱作品中傑出的技巧性為他拔得當代作曲家的頭籌.之所以沒有較大的作品,是因他傾向於創作大眾容易接受的音樂,而不是因缺乏創意及作曲手法的精練.
相對於浪漫派以後其他本身非小提琴家的作曲家而言,布魯赫為小提琴與管弦樂團所創作的作品數量相當多.除了前述的”蘇格蘭幻想曲”以及這首G小調協奏曲之外,另外尚有第二號.第三號小提琴協奏曲,以及作品四十二.五十七.六十五.七十五和八十四的數首小品.
基本上,不論是大型的協奏曲或是小品,如同G小調協奏曲一般,這些作品都具備十足強烈的小調性格.在布魯赫的筆下,氣質優雅的憂鬱性格,成為他作品當中迷人的標記.
G小調第一號小提琴協奏曲完成於1866年,布魯赫當時28歲.他於1865至1866年在萊茵河畔的可布列茲(Coblenz)演奏協會擔任指揮之職.早在1857年(布魯赫19歲時),就有意寫作一首小提琴協奏曲,一直蹈1865年,因聆聽友人桃阿幸的演奏,深受感動,遂以一氣呵成之勢,寫作這首小提琴協奏曲的傑作.隨後於1866年4月24日,布魯赫親自指揮,由小提琴家奧托范.柯尼斯羅(Otto Von Konigslow)首演,樂曲是獻給桃阿幸.之後又加以修訂,現在演奏的版本是此一修訂版,修訂版則由桃阿幸於1866年的夏天首演.
從激起布魯赫這首協奏曲的創作靈感,一直到完成,桃阿幸都扮演重要的角色.如同布拉姆斯一般,布魯赫在創作的過程中,經常徵求桃阿幸的意見.由此可以知道桃阿幸在十九世紀的德國音樂界,有多麼重要的地位.
全曲由傳統的三樂章構成,其結構較孟德爾頌或布拉姆斯的同類作品更為自由,自始至終,獨奏小提琴充分展現出絢爛的技巧,在奔放的樂想中,交織著流暢的抒情性與澎湃的生命力.
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
PHILIP BRODERICK Clarinet MASTER'S RECITAL Tuesday, March 22, 2005 5:30 p.m. Lillian H. Duncan Recital Hall
No full textPlaylist: Tema con Variazioni / Jean Fran9aix (1912-1997) -- Sonata in E-jlat Major, Op.120 No. 2 / Johannes Brahms (1833-1897) -- Cinco Bocetos / Roberto Sierra (b. 1953) -- Eight Pieces, Op. 83 / Max Bruch (1838-1920).This recital is given in partial fulfillment of the requirements for Master of Music degree
Concerto n °1 in G minor for violin and orchestra / M. Bruch. Partita n °2 in D minor for unaccompanied violin / J.S Bach ; Campoli, vl ; The New symphony orchestra ; Royalton Kisch, dir.
No full textTitre uniforme : Bruch, Max (1838-1920). Compositeur. [Concertos. Violon, orchestre. No 1. Op. 26. Sol mineur]Titre uniforme : [Partitas. Violon. No 2. BWV 1004. Ré mineur]Comprend : Concerto n °1 in G minor for violin and orchestra / M. Bruch ; Campoli, vl ; The New symphony orchestra ; Royalton Kisch, dir. ; Partita n °2 in D minor for unaccompanied violin / J.S Bach ; Campoli, vlBnF-Partenariats, Collection sonore - BelieveContient une table des matière
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