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|Title:||The nineteenth-century aesthetics of violin composition in bohemia and moravia: a comparison of the repertoire for violin and piano by Antonín Dvořák and Leoš Janáček|
|Publisher:||University of Sydney.|
Sydney Conservatorium of Music
|Abstract:||This thesis examines the works for violin and piano by Leoš Janáček and Antonín Dvořák to uncover aspects of compositional aesthetic which can inform the interpretative process of a modern performer. Theoretical focus on works broadly considered as the composers’ definitive compositional masterpieces, has meant that works deemed ‘less important’, including much of the repertoire for violin and piano, have been denied an equivalent depth of analysis. Many forms of analysis provide only a limited insight for a performer who seeks to establish a well-founded understanding and replication of the particular aesthetic within which a composer worked or a composition was created. By using aspects of phenomenological analysis, stemming from the work of Husserl, Clifton and Kerman, this study seeks to engage with the nature of music as an ‘experienced phenomenon’ and consider how “musical meaning arises from the view of music as a participatory aspect of a lived-in-world.”1 Therefore, the analysis of these works is closely linked to the exploration of the Czech violin aesthetic from a historical and cultural viewpoint. Examination of the relationship between Dvořák and Janáček and their major personal and professional influences frames the discussion of their compositional processes. The nature of this analysis is peculiarly relevant to issues of violin performance with the aim of establishing what is idiomatic in the violin writing of Dvořák and Janáček and how best to bring this to the surface in performance. By examining works from a similar period and in a similar form, the unifying and contrasting features of these works have been identified and further articulated and used to compare the features of Dvořák and Janáček’s aesthetic of writing for violin and piano.|
|Rights and Permissions:||The author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.|
|Type of Work:||Masters Thesis|
|Type of Publication:||Master of Music M.Mus.|
|Appears in Collections:||Sydney Digital Theses (Open Access)|
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|Rebecca Gill SID 306189356 MMus(Perf) thesis.pdf||107.32 MB||Adobe PDF||View/Open|
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