1,721,120 research outputs found
Analysis of the Deuxieme Sonate pour flute t piano composer Philippe Gaubert and contextualization of his work
No full textEn este trabajo se hace el análisis de la Segunda Sonata de Philippe Gaubert, describiendo los elementos musicales y morfológicos que la componen, rescatando el origen de la forma sonata y haciendo una descripción de las estructuras melódicas rítmicas y armónicas en las cuales se desarrolla esta obra. También se describen y valoran los aspectos contextuales de la música francesa a partir de 1870, de los principales y más representativos compositores vinculados al repertorio de la música francesa emergente entre los siglos XIX y XX, y cómo el maestro Philippe Gaubert, se encuentra relacionado con el repertorio de la música de la tradición francesa, siendo uno de los más representativos y destacados compositores en París. El contexto del autor se complementa con la elaboración de un catálogo de música de cámara de los compositores de los periodos Romántico y Moderno, incluyendo el formato de flauta traversa y pianoforte, pues este gran repertorio está consagrado al archivo de piezas para música de cámara y al estudio de la flauta traversa moderna.In this project the analysis of the Second Sonata of Philippe Gaubert is made, describing the musical and morphological elements that compose it, rescuing the origin of sonata form and by a description of the rhythmic, harmonic and melodic in which structures this piece develops it. Also describes and value the contextual aspects of French music from 1870, the main and most representative composers linked to the repertoire of the emerging French music from the nineteenth and twentieth centuries, and how the composer Philippe Gaubert is related to the repertoire and of the French tradition, he who was of the most representative and prominent composers in Paris. The context of the author is complemented by the elaboration of a catalog of chamber music the composers of the periods Romantic and Modern, including the format for flute and pianoforte, this includes a repertoire is dedicated to file pieces for chamber music and the study of modern flute.universidad Distrita
XVe prélude / Chopin ; pour flûte avec accompagnement de piano, Philippe Gaubert.
No full textDonated to Monash University Library in 2010 by the Victorian Flute Guild. This score belongs to the Leslie Barklamb Collection."Accompagnement de piano par G. Catherine.".Les Classiques de la flûte / Philippe Gaubert - no. 1
Philippe Gaubert / G. H., Paris
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Harmony and voice-leading in music by Philippe Gaubert : innovation in a traditional context
No full textPhilippe Gaubert, French composer and flutist (1879-1941), began his musical career in the creative and innovative atmosphere of the late nineteenth-early twentieth centuries. While much of his music appears to follow the traditions of the common practice period quite closely, it displays peculiarities that prompt the development and application of less traditional analytical concepts. To be sure, his music projects an overall impression of simplicity and familiarity, but there are many instances where Gaubert appears to deliberately avoid the fundamentals of tonality and for which traditional analytical concepts do not suffice. This thesis explores, in Part 1, the ways in which the dominant-tonic cadence and other harmonic expectations are avoided, and in Part 2, the manner in which traditional voice-leading and counterpoint are supplemented with new approaches to pitch organization within a diatonic or nearly-diatonic context. More specifically, Part 1 discusses dominant substitution, non-traditional harmonic progressions/modulations, and the use of non-diatonic, symmetrical pitch-class collections (hexatonic, octatonic, and whole tone), as found in the first movement of Gaubert's "Troisieme Sonate" (1933), while Part 2 discusses unusual voice-leading techniques and symmetrical (but mainly diatonic) pitch and pitch-class arrangements, as found mostly in the "Scherzo-Valse" movement of his "Suite" (1921).Arts, Faculty ofMusic, School ofGraduat
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
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Doctoral thesis recital (trombone)
No full textNew Orleans / Eugène Bozza -- Andante and allegro / J.E. Barat -- Morceau symphonique / Philippe Gaubert -- subZero : concerto for bass trombone / Daniel Schnyder.Musi
Final Doctoral Recital
No full textFlute, Lili Boulanger, Philippe Gaubert, Georges Hüe, Olivier Messiaen, Yuko Uebayashi. Please see Additional Documents for Recital Program
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
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