Dissertationen zum Thema „Composers (people in music)“
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Chaplin-Kyzer, Abigail. „Searching for Songs of the People: The Ideology of the Composers' Collective and Its Musical Implications“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157558/.
Der volle Inhalt der QuelleMpola, Mavis Noluthando. „An analysis of oral literary music texts in isiXhosa“. Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.
Der volle Inhalt der QuellePoon, Yan Chee. „Does music make coming home easier? : musical and sociological analyses of selected compositions commemorating the 1997 return of Hong Kong to the People's Republic of China“. HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/443.
Der volle Inhalt der QuelleCapra, Carlos Augusto. „Music for clarinet by Argentinean composers /“. Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Der volle Inhalt der QuelleSchimpf, Peter John. „A transcultural student, teacher, and composer : Henry Cowell and the music of the world's peoples /“. Abstract and electronic version Publication number: AAT 3248815 Electronic version, 2006. http://proquest.umi.com/pqdweb?did=1268603461&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.
Der volle Inhalt der QuelleSandvik, Jan. „Examination concert : Interpreting music by three different composers“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.
Der volle Inhalt der QuelleChristoffer Pörn: Tre berättelser för piano
Johannes Brahms: Trio för piano, klarinett och cello op 114
Christoffer Pörn: Tre etyder för piano
Charles-Valentin Alkan: Symfoni för piano op 39
Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello
Kim, Yeji. „Hybridity in Flute Music of Four Contemporary Composers“. Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.
Der volle Inhalt der QuelleCurlette, William Bruce. „New music for unaccompanied clarinet by Soviet composers /“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487693923198808.
Der volle Inhalt der QuelleRakena, Te Oti. „The synthesis of Polynesian and western traditions in contemporary New Zealand composers /“. Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
Der volle Inhalt der QuelleNies, Carol. „STRUCTURAL ISSUES IN LUTOSLAWSKI'S SYMPHONY NO. 4“. University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991311116.
Der volle Inhalt der QuelleNiepoetter, Jay Eric. „Solo and chamber music of Pulitzer Prize-winning composers“. College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/242.
Der volle Inhalt der QuelleThesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Rothenberg, Florie. „Music for clarinet and string quartet by women composers“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.
Der volle Inhalt der QuelleEllsworth, Jane Elizabeth. „Clarinet Music by British Composers, 1800-1914: A Repertorial Survey“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392140520.
Der volle Inhalt der QuelleHarrington, E. Michael. „Some observations on the sociological role of the composer in the twentieth century /“. The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu148726155305711.
Der volle Inhalt der QuelleHultgren, Ralph Harold. „Why do I compose? An Autoethnographic Examination of a Composer's Compositional Process“. Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367247.
Der volle Inhalt der QuelleThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
Fuller, Sophie. „Women composers during the British musical renaissance, 1880-1918“. Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.263601.
Der volle Inhalt der QuellePowell, Jonathan Anthony. „After Scriabin : six composers and the development of Russian music“. Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251478.
Der volle Inhalt der QuelleCHOI, YOUNG JU. „SURVEY OF CHORAL MUSIC BY SELECTED TWENTIETH-CENTURY KOREAN COMPOSERS“. University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116369655.
Der volle Inhalt der QuelleTaliani, Alexandra R. „An Annotated Catalog of the Music of Eusebia Simpson Hunkins in the Music and Dance Library Special Collections Room and the Mahn Center for Archives and Special Collections of Ohio University“. Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1587141633610687.
Der volle Inhalt der QuelleWiley, Christopher. „Re-writing composers' lives : critical historiography and musical biography“. Thesis, Royal Holloway, University of London, 2008. http://digirep.rhul.ac.uk/items/51c986f5-ea02-d3b8-03e2-6ab2b962a61f/1/.
Der volle Inhalt der QuelleSiegfried, Abbey Hallberg. „Contemporary American organ music : defining the compositional potential of the pipe organ in conversations with composers /“. Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11366.
Der volle Inhalt der QuelleWebb, Clare Louise. „An annotated catalogue of selected works for clarinet by South African composers“. Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8030.
Der volle Inhalt der QuelleChoi, Moonsun. „A brief evaluation of selected solo piano music by Latin American composers /“. The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862972135188.
Der volle Inhalt der QuelleBrowne, Lisa Ann. „The late twentieth-century American Organ Chorale : a study of six composers /“. The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488204276530766.
Der volle Inhalt der QuelleNorris, Marcus Duane JR. „Brown Eyes, Black Magic“. FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3270.
Der volle Inhalt der QuelleSchröder, Gesine. „Mendelssohn - a model for young composers“. Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61678.
Der volle Inhalt der QuelleIn the second half of the 19th century Mendelssohn’s music played a prominent role in treatises upon composition. Especially the volumes on socalled „free composition“, including recommendations concernig musical forms, instrumentation and orchestration, often quote from his works. Mendelssohn claimed the figure of a model-composer. The paper concentrates on Mendelssohn as a model for young composers, as it was given by teachers at the Leipzig conservatoire. Treatises upon musical forms and instrumentation, written by Mendelssohn’s successors at the conservatoire show how the teachers on the one hand try to continue Mendelssohn’s compositional attitude and on the other hand try to part themselves from certain aspects of Mendelssohn’s music
Milledge, Anthony. „The music of Dyricke Gerarde“. Thesis, Durham University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369925.
Der volle Inhalt der QuelleKeith, Mathieu. „Collaboration in Opera Composition : Writing an opera with three composers“. Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79129.
Der volle Inhalt der QuelleOhki, Hitomi. „American Poet Emily Dickinson Set to Music by 20th Century Composers“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.
Der volle Inhalt der QuelleSoprano: Hitomi Ohki
Piano: Anders Kilström
Aaron Copland (1900-1990)
Twelve Poems of Emily Dickonson
1, Nature, the gentlest mother
2, There came a wind like a bugle
3, Why do they shut me out of Heaven?
4, The world feels dusty
5, Heart, we will forget him!
6, Dear March, come in!
7, Sleep is supposed to be
8, When they come back
9, I felt a funeral in my brain
10, I've heard an organ talk sometimes
11, Going to Heaven!
12, The Chariot
Stambler, David B. „Selected solo music for saxophone by United States composers, 1975-2005“. College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9711.
Der volle Inhalt der QuelleThesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;
Bortz, Yuri. „Selective American perspectives on issues of Twenty-First-Century musical progress“. Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1110210137.
Der volle Inhalt der QuelleTitle from first page of PDF file. Document formatted into pages; contains xiv, 128 p. Includes bibliographical references (p. 128). Available online via OhioLINK's ETD Center
Skinner, Graeme. „Toward a general history of Australian musical composition: first national music, 1788-c.1860“. Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7264.
Der volle Inhalt der QuelleMikkonen, Simo. „Music and power in the Soviet 1930s : a history of composers' bureaucracy /“. Lewiston, N.Y. [u.a.] : Mellen, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017397006&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Der volle Inhalt der QuelleBrunson, Kerry. „Mass classical| America, accessibility, and the Atlanta school of composers“. Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10137432.
Der volle Inhalt der QuelleWhen Robert Spano joined the Atlanta Symphony Orchestra as music director in 2001, he brought with him a mission to change the soundscape of the American concert hall. His goal, to gradually change the public’s perception of new music by introducing accessible works of lesser-known living American composers, led to sustained partnerships with the composers that came to be known as the Atlanta School. In this project I trace the formation of the Atlanta Symphony Orchestra up to Spano’s appointment as Music Director. I then examine Spano’s model for commissioning new works as both an effective means of disseminating new music and an attempt to “plug into” the standard repertoire. Finally, I explore the notion of “accessibility” as it emerged in the nineteenth century to distinguish between classes of music and to show how the term is wielded in much the same way today to keep modernist ideologies in control of the canon.
Morgan, Craig Ashley. „The Use of Virtual Instruments by Australian Screen Composers“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14884.
Der volle Inhalt der QuelleHolland, Elizabeth Jane Violet. „Purcell and the seventeenth-century voice : an investigation of singers and voice types in Henry Purcell's vocal music“. Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/5988/.
Der volle Inhalt der QuelleMartin, Maria Jose. „Drama and Poetry in the Music of Maria Luisa Ozaita (b. 1939)“. University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006873170.
Der volle Inhalt der QuelleSpeedie, Penelope Ann. „American operas on American themes by American composers : a survey of characteristics and influences /“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487758178236837.
Der volle Inhalt der QuelleYamashita, Wendy T. „Kanai Kikuko : the life and works of a twentieth-century Okinawan composer /“. Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11255.
Der volle Inhalt der QuellePotter, Caroline Lucy. „A la recherche d'Henri Dutilleux“. Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283502.
Der volle Inhalt der QuelleMantzourani, Evangelia. „Nikos Skalkottas : a bibliographical study and an investigation of his twelve-note compositional processes“. Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/nikos-skalkottas--a-bibliographical-study-and-an-investigation-of-his-twelvenote-compositional-processes(ac11ee00-46f6-4fd4-a1d3-b47cfc6790aa).html.
Der volle Inhalt der QuellePowers, Ollie D. „Interactions between composers and technology in the first decades of electronic music, 1948-1968“. Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1056145.
Der volle Inhalt der QuelleSchool of Music
Safran, Benjamin. „SOUNDING STRATEGY: COMPOSERS’ USES OF SOCIAL JUSTICE AND POLITICAL THEMES IN CONTEMPORARY CLASSICAL CONCERT MUSIC“. Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/570955.
Der volle Inhalt der QuellePh.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which I discuss). Concurrently with my research, I composed a large-scale experimental work to be used in a protest to demonstrate the potential for contemporary classical music to support nonviolent movements. I organized a pilot performance that brought together music students and community members in the lobby of a large utility headquarters as part of an ongoing campaign for local green jobs in Philadelphia.
Temple University--Theses
Storer, Stuart. „The piano music of Erik Satie and his influence on later composers /“. Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mums884.pdf.
Der volle Inhalt der QuelleSeddon, Laura. „The instrumental music of British women composers in the early twentieth century“. Thesis, City University London, 2011. http://openaccess.city.ac.uk/1172/.
Der volle Inhalt der QuelleCawkwell, Yumi Hara. „Identity, ethnicity and the international music scene : Oriental composers and Western expectations“. Thesis, City University London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435959.
Der volle Inhalt der QuelleTatar, Jeremy Piotr. „Occupied Memory: Polish Composers and German Music after the Second World War“. Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17912.
Der volle Inhalt der QuelleSalido, Caroline Besana. „The Piano Compositional Style of Lucrecia Roces Kasilag“. Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1038863092.
Der volle Inhalt der QuellePanyaniti, Rawin. „Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.
Der volle Inhalt der QuelleMarcho, Trevor K. „Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental Ensembles“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593085683940817.
Der volle Inhalt der Quelle