| LDR | | 00000nam u2200205 4500 |
| 001 | | 000000435339 |
| 005 | | 20200228093146 |
| 008 | | 200131s2019 ||||||||||||||||| ||eng d |
| 020 | |
▼a 9781085771399 |
| 035 | |
▼a (MiAaPQ)AAI13884537 |
| 040 | |
▼a MiAaPQ
▼c MiAaPQ
▼d 247004 |
| 082 | 0 |
▼a 781 |
| 100 | 1 |
▼a Rogerson, Christopher Alden. |
| 245 | 10 |
▼a Haydn and Mozart as Orchestrators. |
| 260 | |
▼a [S.l.]:
▼b Princeton University.,
▼c 2019. |
| 260 | 1 |
▼a Ann Arbor:
▼b ProQuest Dissertations & Theses,
▼c 2019. |
| 300 | |
▼a 95 p. |
| 500 | |
▼a Source: Dissertations Abstracts International, Volume: 81-04, Section: A. |
| 500 | |
▼a Advisor: Mackey, Steve |
| 502 | 1 |
▼a Thesis (Ph.D.)--Princeton University, 2019. |
| 506 | |
▼a This item must not be sold to any third party vendors. |
| 506 | |
▼a This item must not be added to any third party search indexes. |
| 520 | |
▼a The subject of orchestration is typically associated with the treatises of Hector Berlioz and Nikolai Rimsky-Korsakov, or the striking effects of Claude Debussy or Igor Stravinsky. This dissertation seeks to reframe this narrative, considering the expressive role of orchestration in the work of Joseph Haydn and Wolfgang Amadeus Mozart. It concludes that they used the orchestra in strikingly different manners in the symphony and piano concerto. Haydn's orchestrational flair lay in the symphony, often exploiting the drama of sonic and timbral extremes |
| 590 | |
▼a School code: 0181. |
| 650 | 4 |
▼a Musical composition. |
| 650 | 4 |
▼a Music history. |
| 650 | 4 |
▼a Music theory. |
| 690 | |
▼a 0214 |
| 690 | |
▼a 0208 |
| 690 | |
▼a 0221 |
| 710 | 20 |
▼a Princeton University.
▼b Music. |
| 773 | 0 |
▼t Dissertations Abstracts International
▼g 81-04A. |
| 773 | |
▼t Dissertation Abstract International |
| 790 | |
▼a 0181 |
| 791 | |
▼a Ph.D. |
| 792 | |
▼a 2019 |
| 793 | |
▼a English |
| 856 | 40 |
▼u http://www.riss.kr/pdu/ddodLink.do?id=T15491372
▼n KERIS
▼z 이 자료의 원문은 한국교육학술정보원에서 제공합니다. |
| 980 | |
▼a 202002
▼f 2020 |
| 990 | |
▼a ***1816162 |
| 991 | |
▼a E-BOOK |