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CNAA / Theses / 2012 / June /

Concerto for viola and orchestra: methods of study


Author: Andrieş Vladimir
Degree:doctor of history and Theory of Arts, Cultorology
Speciality: 17.00.01 - Audio-visual Arts (with specification: Theatrical Art; Musical Art; Cinematography, TV and other form of Audio-Visual Arts)
Year:2012
Scientific adviser: Vladimir (decedat) Axionov
doctor habilitat, professor, Institute of Cultures Patrimony of the ASM
Institution: Academy of Music of the Theatre and Fine Arts
Scientific council: DH 22-17.00.01
Institute of Cultures Patrimony of the ASM

Status

The thesis was presented on the 5 June, 2012
Approved by NCAA on the 5 July, 2012

Abstract

Adobe PDF document0.40 Mb / in romanian

Keywords

baroque, bowing techniques, classicism, composition style, didactic repertory, instrumental concerto, interpretative style, performance, romanticism, viola

Summary

Concerto for viola and orchestra: methods of study. PhD thesis in Audio-visual Arts (Musical Art). Chişinau, 2012. The thesis is written in Romanian and comprise: introduction, 4 chapters, general conclusions and recommendations, notes, bibliography of 262 titles (in the Romanian, English, French, Spanish, Italian and Russian languages); 5 appendices, 158 basic text pages (before the bibliography), including 130 musical examples (115 in basic text) and 18 schemata. The obtained results are reflected in 9 scientific works.

Research area: Theory and history of musical performance on viola; Theory and history of musical genre and style.

Purpose and objectives of the thesis: elucidation of role of concertos for viola and orchestra in the process of professional formation of the specialist in viola instrumental performance; reconstruction of the complex panorama of the situation in the field of study of the concerto for viola and orchestra; examination of the complex spectrum of stylistic, technical and artistic problems that appear in the course of studying concertos for viola and orchestra; working put some methodical indications that could help the young performers in the process of studying and playing concert works for viola and orchestra.

The scientific novelty of the thesis is due to a number of facts: some of the analysed concertos for the first time became objects of scientific investigation; for the first time in the autochthon musicology is presented a generalizing panorama of concerto for viola and orchestra through the prism of a multiaspectual historic-interpretative vision; in the investigation is used a complex method of research that combines the traditional musicological examination with the stylistic-interpretative analysis of concertos. The considered scientific problem consist in the diminution of the discrepancy between the major social demand for concert works, the dimension of their presence in the concert and didactic repertory, on the one hand, and their insufficient treatment in music science, of the other hand, as well as the re-evaluation of the role of the concerto for viola and orchestra plays in the process of the musician performer’s formation.

Theoretical significance. By synthesizing some valuable reseach, findings and conclusions the present thesis contributes to the enrichment and diversification of scientific knowledge in the field of theoretical utilization of the concerto for viola and orchestra evolution in composition creation and interpretative art. The theoretical findings and formulated conclusions can constitute a reference point for further scientific investigations.

Application value of the work. The accumulated materials may be used both the scientific research and instructive-didactic process as well as in the course of musical performing activity. The work can constitute a documentary basis and support for later research in the field of music theory as well as in that of performing art at the viola. The research may serve as a complementary methodical source for studying the concerto genre in the viola class; as didactic material within the framework of special institution of musical education; in the performers’ soloists’ activity and that of viola teachers.