48 search hits
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Leopold II., Liebling seines Volks : eine Kantate / komponirt und den 22. October 1790 in der St. Catharinenkirche zu Frankfurt aufgeführt von J. W. Häßler
(1790)
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Johann Wilhelm Hässler
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Leitfaden für den ersten theoretischen und mechanischen Elementar-Unterricht des Violin-Schülers : eine Beigabe zu jeder Violin-Schule und mit besonderer Berücksichtigung für den Gebrauch an Musikschulen, Seminarien etc. / hrsg. von Richard Hillgenberg
(1884)
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Carl Halle - Sir Charles Hallé : ein europäischer Musiker / Ann Barbara Kersting
(1986)
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Ann Kersting-Meuleman
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Das geistliche Volkslied : Sammlung geistlicher Lieder für außergottesdienstliche Kreise ; in vierstimmigem Satze, zugleich als Begleiterin der "Kleinen Missionsharfe"
(1891)
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Dietrich August Rische
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Der 114te Psalm von Felix Mendelssohn Bartholdy, und Die Schöpfung von J. Haydn : zum Besten den St. Petri Thurmbaues, am 10. Februar 1865, Abends 7 Uhr, in der großen St. Michaelis Kirche ; aufgeführt durch die Sing-Akademie unter Leitung des Hrn. Jul. Stockhausen
(1865)
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Felix Mendelssohn Bartholdy
Joseph Haydn
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École du violoncelle [Musikdruck] : degré 1 - 4 ; (1te bis 4te Stufenfolge) ; pour deux violoncelles ; pour deux violoncelles : 3e degré / par Jacq. Offenbach
(1841)
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Jacques Offenbach
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Harmonia sacra : in honorem nuptiarum ... Jacobi Stoeven ... cum Cornelia ... Petri von der Mylen filia ; quinque vocibus concinnata & dedicata
(1611)
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Jacob <der Jüngere> Praetorius
- 5 Stimmbücher: Cantus, Altus, Tenor, Bassus, Quinta vox in 1 Bd.
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Passions-Oratorium : nach Worten der heiligen Schrift für Soli, Chor, Orchester und Orgel (ad libit.) ; op. 45 / von Felix Woyrsch
(1899)
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Felix Woyrsch
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"Transcending quotation" : cross-cultural musical representation in Mauricio Kagel’s "Die Stücke der Windrose für Salonorchester"
(2001)
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Björn Heile
- Die Stücke der Windrose für Salonorchester (1989-95) by the Argentine-German composer Mauricio Kagel (*1931) constitute a set of eight pieces on the main bearings of the compass, each number being named after a compass point. In my thesis I explore how the different musical idioms – references to non-Western musics and to salon orchestra music, as well as Kagel’s own compositional procedures – relate to one another in the pieces. The specific origin of the materials Kagel utilised is established by examining a variety of sources, such as the composer’s own programme notes, an interview I conducted with him, and most importantly, the sketch materials. On this basis I develop a theoretical model of the intertextual relations between different musical discourses by means of Bakhtinian dialogics, resulting in a typology distinguishing different kinds of cross-cultural musical representation according to the degree of ‘stylisation’ involved. This typology serves as the framework of my analyses in which I discuss the different ways Kagel engages with his source materials in terms of compositional technique, aesthetic issues such as Kagel’s challenge to traditional notions of authorship, and the ideological implications of cross-cultural musical representation, interpreted in the light of recent discourses, for instance in cultural studies and postcolonialism. In particular, I demonstrate that Kagel‘s work is as much a critical reflection on common Western representations of ‘otherness’, as it engages in such a practice itself, as is apparent in the ostentatious employment of a salon orchestra with its associations of turn-of-thecentury exoticism. By illustrating methodological approaches to cross-cultural composition, which has become a prominent feature of contemporary Western concert music, the thesis aims to contribute to current discourses concerning the musical representation of ‘otherness’.
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Beethoven and Mozart's Requiem : a new connection
(2006)
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Bathia Churgin
