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Piano oeuvre of Eduard Hagerup Grieg, its interpretations and possible aplicattions
Štěpánková, Barbora ; Gregor, Vít (advisor) ; Tichá, Libuše (referee)
Working in the introduction briefly remind the life of the composer and readers closer Lyrical pieces, which for the analysis of piano works, the author chose. In other chapters focuses on the individual characteristics of the piano music of Edvard Hagerup Grieg and proves it on the selections. Among the discovered features include: inspiration folk creation, simple composition works, playing with basic motive, use of arpeggios, composer's creative work with octave and unison, shortened echoes, long bass, chromatic and diatonic practices and changing hands in the lead melody. It is focused on a brief analysis of the lyrical piece Wedding Day at Troldhaugen, proves on analysis discovered features work and strive to interpret the songs where the author comes from her own experience and from listening to recordings stored on Bergen library and recordings of the Edvard Hagerup Grieg interpretation. In conclusion, the author presents a chapter on the possible use of Lyrical pieces.
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Piano oeuvre of Eduard Hagerup Grieg, its interpretations and possible aplicattions
Štěpánková, Barbora ; Gregor, Vít (advisor) ; Tichá, Libuše (referee)
Working in the introduction briefly remind the life of the composer and readers closer Lyrical pieces, which for the analysis of piano works, the author chose. In other chapters focuses on the individual characteristics of the piano music of Edvard Hagerup Grieg and proves it on the selections. Among the discovered features include: inspiration folk creation, simple composition works, playing with basic motive, use of arpeggios, composer's creative work with octave and unison, shortened echoes, long bass, chromatic and diatonic practices and changing hands in the lead melody. It is focused on a brief analysis of the lyrical piece Wedding Day at Troldhaugen, proves on analysis discovered features work and strive to interpret the songs where the author comes from her own experience and from listening to recordings stored on Bergen library and recordings of the Edvard Hagerup Grieg interpretation. In conclusion, the author presents a chapter on the possible use of Lyrical pieces.
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