The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes
碩士 === 輔仁大學 === 音樂研究所 === 92 === The purpose of music is to bring the sense of hearing to the audience. Therefore, when the performer tries to touch people’s hearts by music, the first thing is to touch himself or herself. The main point of this thesis is to help the performer improve his...
Main Authors: | , |
---|---|
Other Authors: | |
Format: | Others |
Language: | zh-TW |
Published: |
2004
|
Online Access: | http://ndltd.ncl.edu.tw/handle/47183936852004452869 |
id |
ndltd-TW-092FJU00248011 |
---|---|
record_format |
oai_dc |
spelling |
ndltd-TW-092FJU002480112016-01-04T04:09:15Z http://ndltd.ncl.edu.tw/handle/47183936852004452869 The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes 法朗賽『為低音管與絃樂五重奏所寫的嬉遊曲』之演奏詮釋 Yu-Hwa Cheng 鄭鈺樺 碩士 輔仁大學 音樂研究所 92 The purpose of music is to bring the sense of hearing to the audience. Therefore, when the performer tries to touch people’s hearts by music, the first thing is to touch himself or herself. The main point of this thesis is to help the performer improve his or her sense of hearing by analyzing and interpreting Jean Francaix’s masterpiece “Divertissement pour Basson et Quintette à Cordes.” Through the coordination between bassoon and strings, the practice of intonation and the different seating arrangements, which generates different sounds, the thesis then discusses the influences by the factors above. Ming-Jian Fang 方銘健 2004 學位論文 ; thesis 57 zh-TW |
collection |
NDLTD |
language |
zh-TW |
format |
Others
|
sources |
NDLTD |
description |
碩士 === 輔仁大學 === 音樂研究所 === 92 === The purpose of music is to bring the sense of hearing to the audience. Therefore, when the performer tries to touch people’s hearts by music, the first thing is to touch himself or herself.
The main point of this thesis is to help the performer improve his or her sense of hearing by analyzing and interpreting Jean Francaix’s masterpiece “Divertissement pour Basson et Quintette à Cordes.”
Through the coordination between bassoon and strings, the practice of intonation and the different seating arrangements, which generates different sounds, the thesis then discusses the influences by the factors above.
|
author2 |
Ming-Jian Fang |
author_facet |
Ming-Jian Fang Yu-Hwa Cheng 鄭鈺樺 |
author |
Yu-Hwa Cheng 鄭鈺樺 |
spellingShingle |
Yu-Hwa Cheng 鄭鈺樺 The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes |
author_sort |
Yu-Hwa Cheng |
title |
The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes |
title_short |
The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes |
title_full |
The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes |
title_fullStr |
The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes |
title_full_unstemmed |
The Performance practices of Jean Francaix''s Divertissement pour Basson et Quintette à Cordes |
title_sort |
performance practices of jean francaix''s divertissement pour basson et quintette à cordes |
publishDate |
2004 |
url |
http://ndltd.ncl.edu.tw/handle/47183936852004452869 |
work_keys_str_mv |
AT yuhwacheng theperformancepracticesofjeanfrancaixsdivertissementpourbassonetquintetteacordes AT zhèngyùhuà theperformancepracticesofjeanfrancaixsdivertissementpourbassonetquintetteacordes AT yuhwacheng fǎlǎngsàiwèidīyīnguǎnyǔxiánlèwǔzhòngzòusuǒxiědexīyóuqūzhīyǎnzòuquánshì AT zhèngyùhuà fǎlǎngsàiwèidīyīnguǎnyǔxiánlèwǔzhòngzòusuǒxiědexīyóuqūzhīyǎnzòuquánshì AT yuhwacheng performancepracticesofjeanfrancaixsdivertissementpourbassonetquintetteacordes AT zhèngyùhuà performancepracticesofjeanfrancaixsdivertissementpourbassonetquintetteacordes |
_version_ |
1718159820259852288 |