Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Orchestral music Scores.
Dissertationen zum Thema „Orchestral music Scores“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "Orchestral music Scores" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Maidanik, Victoria. „Vicissitudes“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37251.pdf.
Der volle Inhalt der Quelle
2
Frank, Robert J. 1961. „Temporal Distortions: a Composition for Orchestra“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.
Der volle Inhalt der QuelleAnnotation:
Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant and diverse parts of the universe. The work is in three sections, connected without break. The first section, Space, emerges as a wide, expansive musical area where themes and gestures are freely presented. Gradually, these materials come into phase with one another, building to a climax. A transition follows, leading into the middle section, Wormholes, where the materials are frequently and suddenly transformed into other temporal elements. The third section, Comets, was inspired by the collision of the comet Shoemaker-Levy 9 with the planet Jupiter in July of 1993. Driving, underlying rhythms propel the thematic material through a series of statements which split into more and more substatements. This leads into a turbulent, explosive section and a final wormhole which returns to the opening material. Five basic temporal elements -- sustaining, aligned/non-repeating, aligned/repeating, non-aligned/repeating, and non-aligned/non-repeating -- are derived and demonstrated. Relationships between these elements are examined, and basic transformations are discussed. These elements serve as the basis for a theory of temporal analysis applicable to both metered and non-metered music. Chapter I presents this theory, and Chapter II discusses its application as a compositional method in Temporal Distortions.
3
Au, Siu-ming Stefan. „Sinfonietta“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278459/.
Der volle Inhalt der QuelleAnnotation:
Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.
4
陳錦標 und Kam Biu Joshua Chan. „Portfolio of original compositions“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.
Der volle Inhalt der Quelle
5
Godin, Scott 1970. „Weight for orchestra“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84210.
Der volle Inhalt der QuelleAnnotation:
This dissertation consists of two parts. Part One is a written text which defines compositional processes and provides an analysis of the musical material incorporated in weight, my composition for orchestra. Part Two of the dissertation comprises the musical score for weight.weight is a nineteen-minute composition for symphonic orchestra [2222, 4231, piano, percussion (2 players), timpani, strings (16,14,10,10,8)] which attempts to exploit the various allusions conjured up by the title. The term "weight" implies lightness or heaviness which can be applied to various musical elements (e.g., where a chord is "heavier" than the previous, a rhythm is becoming "lighter," etc.). weight is an attempt to remove the subjectivity surrounding the use of this type of terminology by measuring and developing certain musical elements in a logical and elegant manner.
Following an introductory chapter, the written text focuses on three main components. Chapter Two deals with the harmonic component of weight, first, describing how the harmonic language for the composition has been constructed, followed by a detailed explanation of how the harmonies are given numerical "weights," and subsequently how they are manipulated in the composition. Chapter Three defines and numerically calculates subsidiary elements such as rhythm, orchestration, and a formal element identified as temporal splicing. Chapter Four reveals the overall form of weight , and illustrates through a series of sectional analyses how each subsidiary element interacts with one another in each formal region. The fifth chapter concludes the written text, summarizing the paper and considers future uses of the compositional and analytical methods introduced in this paper.
6
Jestadt, Jason T. „Desert places : for orchestra“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32833.
Der volle Inhalt der QuelleAnnotation:
Desert Places is a composition for large orchestra with a duration of approximately 12 minutes. Inspired by the Robert Frost poem "Desert Places", the work is primarily concerned with "covering up" one type of musical material with another. Specifically, the work contains a large-scale "cross-fading" of two types of motivic material, and two types of harmonic material. While the processes at work remain clearly defined, the musical materials move smoothly and gradually through the piece, exchanging foreground and background positions, and blurring the divisions of sections.
7
Walczyk, Kevin 1964. „Capriccio: A Composition for Symphonic Orchestra“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935623/.
Der volle Inhalt der QuelleAnnotation:
A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.
8
Gaviola, Natalia. „De azufre y sal“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37296.pdf.
Der volle Inhalt der Quelle
9
Dehler, Elizabeth. „Now and forever“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79278.
Der volle Inhalt der QuelleAnnotation:
Now and Forever is a thesis in two parts: a twelve-minute piece for orchestra and a text providing an analysis of the piece. The orchestra consists of two flutes (flute 2 doubling piccolo), two oboes, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in C, two tenor trombones, one bass trombone, two percussion and strings. The work features the use of an original text as the underlying program, the use of golden section proportions as a principal organisational device, a rising semitone motive as the foundation for melodic, harmonic and registral development, and the intermittent appearance of micropolyphonic textures. In some passages, the harmonic series is the basis of pitch field development, notably in section VI, which consists of an orchestral evocation of the sounds of an aeolian harp.
10
Desjardins, Jacques A. 1962. „Les Chemins de Milarepa /“. Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59549.
Der volle Inhalt der QuelleAnnotation:
This project consists of two parts. The first part is a composition for orchestra of approximately thirteen minutes in duration. The second part, an analysis of the work, describes the music in terms of its form, harmony, rhythm and orchestration.The piece can be considered as a free rondo in the sense that it does not necessarily follow the usual plan of the classical rondo. This particular composition sometimes displays two verses in a row, thus trying to introduce some new ideas into this very old type of musical form.
In terms of harmony, the work deals with two basic categories of chords. First, some chords are designed as to show different ways of combining together the two whole-tone scales. Second, the chords sometimes mimic the behaviour of the harmonic series by using a decreasing sequence of harmonic intervals from the lower register to the upper register.
The rhythms of the piece mainly follow Olivier Messiaen's theory of added durations.
Finally, the orchestration aspect basically shows examples of chords which are held still in a certain number of voices while they are slightly ornamented by other voices in the orchestra. This device has simply been named the technique of "simmering sound".
11
Shuebrook, Paul. „Mudra“. Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23979.
Der volle Inhalt der QuelleAnnotation:
"Mudra" is the transliteration of a Sanskrit word meaning "symbol" or "gesture". This piece is inspired by the interaction of thoughts, breathing patterns, spontaneous bodily movements and sensations which can occur during the yogic practice of 'pranayam'. The work is written for flute/piccolo, oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, piano, four violins, two violas, two cellos, and two double basses.The piece is divided into twelve sections, clearly delineated by changes in harmony, texture, meter, and registration. As the music unfolds, seven rhythmic cells and four fixed-pitch collections provide the basis for rhythmic and harmonic development, or variation. Elements such as solo melodic lines, melodies dynamically doubled at varying intervals, polyrhythm, isorhythm, heterophony, timbral modulation, and metric modulation are used in an attempt to generate a satisfyingly rich musical experience.
12
Chang, Yuli 1982. „Poetic afterthought : seven pieces for orchestra“. Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.
Der volle Inhalt der QuelleAnnotation:
Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.
13
García, de la Torre Mauricio 1976. „Cachalote“. Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.
Der volle Inhalt der QuelleAnnotation:
Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the appearance and ordering of the work's main gestures, and articulates the overall structure.
14
Chong, Lok-Shing. „The Last Seven Words“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500283/.
Der volle Inhalt der QuelleAnnotation:
The Last Seven Words is an orchestral piece with double woodwind, double brass, and two sets of timpani. The duration of the work is seventeen minutes. The forty-six pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to write an orchestra piece with a single scale and seven rhythmic patterns.
15
Fu, Yuen-Wai. „Designs“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500509/.
Der volle Inhalt der QuelleAnnotation:
Designs is an algorithmic composition for small orchestra. The main compositional process used involves the realization and implementation of various musical algorithms discussed in the book Composition with Pitch-Classes by theorist/composer Robert Morris.
16
Sullivan, Timothy. „Terrains, for orchestra“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/NQ41088.pdf.
Der volle Inhalt der Quelle
17
Dribus, John Alexander. „Breaking Through: A Composition for Symphony Orchestra“. Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/dribus%5Fjohn%5Falexander/index.htm.
Der volle Inhalt der Quelle
18
Cary, Tristram. „Portfolio of original compositions“. Title page and table of contents only, 2000. http://web4.library.adelaide.edu.au/theses/09MUD/09mudc333.pdf.
Der volle Inhalt der QuelleAnnotation:
Includes comprehensive bibliography the composer's works. Biographical notes and list of works -- The ladykillers: a suite for orchestra in three movements based on the music composed for the 1955 Ealing comedy -- Contours and densities at First Hill: fifteen landscapes for orchestra -- I am here, for soprano and tape -- Scenes from a life, for orchestra - one movement with three sections. Apart from Contours and densities at First Hill, which was commissioned by the University of Adelaide, these works submitted for D. Mus have not ben published commercially.
19
Morel, Jessica. „Orchestral Excerpts for Conductors“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157567/.
Der volle Inhalt der QuelleAnnotation:
"Orchestral Excerpts for Conductors" is a compilation of sixty-five full score excerpts from the orchestral repertory arranged for string quartet and piano. The purpose of this collection is to provide conducting students with a pedagogical resource for learning how to handle technically challenging excerpts in orchestral music. This dissertation serves as a plan for the final publication of the excerpts book; while it includes the full score excerpts, it does not include the arrangements for string quartet and piano.
20
Adler, Ayal. „Crystallisation : for a large orchestra“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85219.
Der volle Inhalt der QuelleAnnotation:
This essay presents an analysis of Crystallisation, a composition for a large orchestra. The work consists of a single movement, with a duration of approximately 15 minutes.The analysis focuses mainly on formal structure, pitch organization, texture and rhythm. Some of the main topics are: large-scale form and subdivisions of each section, thematic interrelations of the sections, central pitches, pitch collections, chord structure and interrelations between texture and rhythm.
Throughout the course of the work, the music closely follows an overall process of searching for a valid structure and "core". In realizing this process the music takes on a variety of devices, among them: various kinds of symmetry within texture and form; thematic relations between separate sections through variants and material transformation; a coherent pitch organization which contains structural pitches, symmetrical collections and three main groups of chords; a complex and carefully structured rhythmic organization.
The concluding section of this essay compares between some of the properties of a crystal and the structure of various parts in Crystallisation.
21
Bryant, Steven 1972. „Loose Id for Orchestra“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278090/.
Der volle Inhalt der QuelleAnnotation:
Loose Id, scored for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, B-flat contrabass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B-flat, 2 trombones, 1 bass trombone, tuba, timpani, percussion (3 parts), violin I, violin II, viola, violoncello, and contrabass), is an abstract realization in sound of the energy of the Id. Unleashed, without the counterbalance of Ego or Superego, the Id generates unbridled instinctual energy, resulting in an orgiastic frenzy. Distinct from a state of dementia, this piece represents a thoroughly lucid and intentional rampage of self-indulgence. The accompanying essay examines the underlying structural principles of Loose Id, focusing on how they aid the creation of the overall experience of the piece. Particular attention is given to the concepts of linearity and nonlinearity and their roles in different levels of creative and listening processes.
22
Holbrook, Geoffrey. „Sets and senses : a work for symphony orchestra accompanied by an analysis : a hierarchy of scienceart interactions“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99174.
Der volle Inhalt der QuelleAnnotation:
Sets and the Senses is a work for symphony orchestra that bears the interaction between science and art as its overriding theme. Formalizations of compositional parameters that relate to this interaction are established, in particular those relating to the contrast between systematic and intuitively composed music, in order to provide a vehicle for musical communication on the theme. A summary of scientific and artistic elements of the compositional process reveals in the work an ingrained hierarchy of science/art interactions. Specific strategies for manipulating the science/art parameters are described. Genetic algorithms as applied to computer-assisted composition are discussed. The formal design of the work is described in terms of the relationship between science and art, accompanied by descriptions of systematic and intuitive musical procedures used.
23
Walczyk, Kevin 1964. „Two Movements from the Delphic Suite: A Composition for Orchestra“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc501059/.
Der volle Inhalt der QuelleAnnotation:
Delphic Suite is a composition for orchestra that depicts specific events narrated in Homer's epic tale, Odyssey. For the purpose of this thesis the second movement, Raid on Ismarus, has been omitted so as to focus on the melodic, rhythmic, and harmonic structures of the first movement, Lament from Troy, and the third movement, Ruler of the Winds. Each of these musical parameters will be analyzed in order to illustrate the Suite's imitation of compositional techniques exemplified in the music of Homer's era, and the musical results obtained by juxtaposing those parameters upon a twentieth-century tonal scheme that provides the Suite with an eclectic ambience.
24
Floyd, James Michael. „Images of Remembered Earth“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2534/.
Der volle Inhalt der QuelleAnnotation:
Images of Remembered Earth is a musical composition scored for full orchestra. The composition was inspired by Georgia O'Keeffe's painting, Light Coming on the Plains I (1917), which depicts a sunrise over a flat and empty landscape. In the painting, the expanse of the sun's rays is expressed through an even-blended transformation of color from goldish-blue at the light's source to progressively darker shades of blue near the edges of the canvas. The progression of color is interrupted by thin gold bands which sectionalize the sunrise into seven concentric arches. The construction of the musical composition derives musical materials directly from elements found within O'Keeffe's painting, specifically the shaping of structure, expansion, and color in arch patterns.
Arch patterns, an integral element in O'Keeffe's painting, govern elements in the musical composition, including pitch selection, the overall tempo scheme, rhythmic activity, and formal shape. Pitch materials are expansive by design; this expansive quality is exhibited through the employment of wedge-shaped musical ideas and through the utilization of higher and lower registers. O'Keeffe's use of color in the painting influenced the orchestration of the music and is manifested in two ways: 1) gradual transformation of timbral colors and 2) the juxtaposition of contrasting instrumental groupings.
25
Wu, Dien-Foon. „The Wanderer“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278746/.
Der volle Inhalt der QuelleAnnotation:
The Wanderer is an orchestra piece 18'42" in duration. The purpose of this project is to provide the composer an opportunity to express through music his experience with God, rebellion, and returning as the wanderering son did in the Bible's parable.
26
Cheng, Yu-sum Anthony, und 鄭汝森. „An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.
Der volle Inhalt der Quelle
27
Emmanouelides, Evangelos. „Anthropus Pananthropus : a work in three continuous movements for Symphony Orchestra with rebetiko trio, alto saxophone and double bass“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69727.
Der volle Inhalt der Quelle
28
Moura, Eli-Eri Luiz de. „Noite dos tambores silenciosos : for symphony orchestra“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84689.
Der volle Inhalt der QuelleAnnotation:
In this paper the compositional issues and techniques employed in my D.Mus. Thesis Composition Noite dos Tambores Silenciosos (for symphony orchestra) are discussed. The piece, constituted of three linked parts, exhibits a counterpoint of three distinct kinds of music as the main vehicle of the musical discourse.Two of these musics are connected with Maracatu de Baque Virado and Maracatu Rural, popular musical manifestations found in Pernambuco, a state in northeast Brazil. In a "defragmentation" process, reference materials from the Maracatus are abstractly fragmented and reconstructed according to a technique I call Zin-Zout, implementing in the music a continuous state of transformation, back and forth between micro and macro dimensions. The third kind of music, free of folk references, follows a transformational process built up according to a "palimpsest" technique. In this transformation the hierarchy of the musical parameters changes along with the units of the musical content.
These procedures involve not only pitch and rhythm, but also other parameters like timbre, density and register in a structural way, as building elements of the content and form of the work.
The defragmentation process establishes some predetermined compositional paths, but permits micro- and macro-level decisions based on intuitive considerations, especially in the manipulation of orchestration and micro rhythms. More systematic, the organization of pitch involves a limited serialism and a variety of modal treatment.
29
Gerard, Garrison. „EverWind: Original Composition and Analytical Essay on the Role of Inspiration and Nature in Music“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538726/.
Der volle Inhalt der QuelleAnnotation:
This paper provides an overview of the inspiration, research, and creative process involved in the composition of EverWind for orchestra and electronics. EverWind is based on field recordings from the American Southwest. The composition uses pitch material derived from spectral analysis of the recordings, and it incorporates a fixed media element using the field recordings that are then electronically manipulated to various degrees; this fixed media element is played alongside the orchestra. The paper also analyzes John Luther Adams' Dark Waves for Orchestra and Electronics and R. Murray Schafer's Music for Wilderness Lake in order to place EverWind within the broader musical context.
30
Chan, Sze-rok, und 陳詩諾. „Inspired by the Hindu tradition: compositionsand reflections“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.
Der volle Inhalt der Quelle
31
Budón, Osvaldo 1965. „Alrededor de una música auscente“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84687.
Der volle Inhalt der QuelleAnnotation:
Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience.Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to another. Transformation of the sound material is accomplished by means of digital signal processing and, in the instrumental parts, by way of compositional techniques modeled after specific electroacoustic sound processing techniques.
The organization of musical structures and formal processes was informed by certain characteristics associated with devices that handle information represented digitally, by techniques of electroacoustic sound production and transformation, and by particular extended instrumental techniques.
Volume 1 of this dissertation is a written text articulated in two parts. The first part gives a historical and aesthetical context for my composition. The second part is an analysis of materials and formal processes used in the piece. Volume 2 is the music score of the composition. A CD containing the patches and soundfiles utilized in the electronic part supplements both volumes.*
*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
32
Christensen, Justin. „Tourniquet mirage“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83162.
Der volle Inhalt der QuelleAnnotation:
Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform.The processed sound part is closely linked to the music in the orchestra. This is as a result of developing the pitch-material of the orchestra by spectrally analyzing the processed audio. At certain times, the relationship between the electronics part and the sound of the orchestra is blurred. To accomplish this, the related formal sections of the orchestra are situated in a canonic relationship with respect to the processed-sound part. The thesis is in two parts: an analysis and an orchestral score.
33
Schmidt, Douglas Garth. „Eyes without light“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32243.
Der volle Inhalt der QuelleAnnotation:
"Eyes Without Light" is conceived and scored for symphonic orchestra. The title of this work reflects personal concerns regarding global environmental issues. The phrase "eyes without light", derived from the Gaelic term "sul gan solas", refers in this instance to the blind greed of multi-national industrial and political corporations which are responsible for the destruction of the earth's ecosystem (primarily the forests and oceans).
This work, influenced by the 19th-century symphonic poem initiated by Beethoven, Berlioz and Liszt, is programmatic in nature. The busy, confrontational destructiveness of mankind is represented by repeated or moving sixteenth notes at the beginning and end of the piece. These sections utilize varying densities of semitone clusters and are predominantly dissonant. The calmness and balance of the planet earth is represented by the middle section of the work, which consists primarily of slow-moving sustained lines. These sustained lines move to a sonority which is the structural focal point of the work (m 129-131). This sonority is resolved in the final measures. Both the focal point sonority and its resolution are constructed of P5 and P4 intervals. The aggressive destructiveness of mankind is emphasized by the repeated dissonant chords in the concluding measures (m 140-147, m 151-157) of the section.Arts, Faculty of
Music, School of
Graduate
34
Mayall, Jeremy Mark. „Composition Portfolio“. The University of Waikato, 2006. http://hdl.handle.net/10289/2398.
Der volle Inhalt der QuelleAnnotation:
The works in this portfolio of original compositions cover a wide spectrum of genres, styles, approaches, and musical techniques. The aim was to demonstrate mastery of the various musical languages and techniques characteristic of each genre. The calculatedly low-fi 'alt.rock meets computer games' approach of the concept album They No Longer Sleep Alone is of folk-like simplicity, deliberately eschewing the various polishing processes available to producers now in the digital mastering situation. The intention was to preserve a naturalness of sound and song making. On the other hand, live electronic effects are utilized to expand the sonorities and textures obtained from a solo bassoon in The Effect of Bundled Sticks on Sounds. Today is the Tomorrow takes this idea further, being a completely electronic work mixing live musical performance (turntables) with pre-recorded sounds, these interacting with live video and prepared animation. De Feo, inspired by graffiti artists, was written for a virtuoso pair of performers in the unusual combination of alto saxophone and viola, with no electronics being required. The Big Fat Jazz Bastard Theme Song and Espacio were written for particular performers and approaches to music making, while Saturday Afternoon and Late Night Specials are film scores. Swamp Treasures and Bungamucka - the Alarmist were commissioned for theatrical productions and thus were designed to fulfil specific functions determined by the stage directors. By way of contrast, ...seconds unwind...generated noise...racecar... is an abstract work that utilizes the sophistication and subtleties of timbre, rhythm and texture available from a professional chamber orchestra.
35
Howard, Chris 1967. „Prelude, chorale and fantasy : Ecclesiastes 12“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69607.
Der volle Inhalt der QuelleAnnotation:
The Prelude, Chorale and Fantasy is a tonally conceived work for orchestra with a duration of approximately twenty minutes which uses as its inspiration the final chapter of Ecclesiastes. It is constructed from a relatively small number of germinal elements which function throughout the work as connecting forces and icons. In it can be found musical ideas used to represent the Trinity, the most significant of which are the quotations of the hymn "How Brightly Shines the Morning Star" which appear throughout.A greater understanding of the work can be gained by approaching it first on a philosophical level, making connections between the Biblical text and the music and extrapolating from those connections. Following this, a step by step analysis will show the microscopic structure of the work and its relationship to the larger form.
36
O'Connor, Jennifer. „Black snow by Michael Smetanin : an analysis : and original compositions“. University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.
Der volle Inhalt der QuelleAnnotation:
Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.
37
Han, Sang-Eun. „Symphonic Fantasia Han-Kook Oui Ja-Yeon (Nature in Korea): Score and Critical Commentary“. Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/han%5Fsang-eun/index.htm.
Der volle Inhalt der Quelle
38
Parys, Marcin. „Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.
Der volle Inhalt der QuelleAnnotation:
As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.
39
Lin, Tung-Lung. „The Heidegger Collection“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2626/.
Der volle Inhalt der QuelleAnnotation:
The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence.
40
Campbell, Andrew (Andrew S. ). „Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, --“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862786/.
Der volle Inhalt der QuelleAnnotation:
This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.
41
Buck, Wayne A. „Triad fantasy : score and analysis /“. View online, 2010. http://repository.eiu.edu/theses/docs/32211131527718.pdf.
Der volle Inhalt der Quelle
42
Morell, Justin 1973. „Symphonies -- Scores and parts“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11058.
Der volle Inhalt der QuelleAnnotation:
1 score (xvii, 233 p.)Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination. Composers have sometimes turned to mathematics as a tool for generating art though the systematization of musical elements. However, music often suffers from the conscious attempt by composers to bring it closer to the world of science and math through the serialization of musical material. This does not mean that mathematics and science do not play an important part in music of great expression. To be sure, composers have used simple mathematical concepts to discuss, analyze, and create music at every stage, whether consciously or unconsciously, since the beginning of Western music. These ideas are at the very heart of the great music of previous centuries, even if we celebrate those works more for their intrinsic beauty than their rational mechanics. It is the inventiveness and creativity that we find easy to value in music, but the science behind it also makes its creation possible. My symphony pays tribute to the marriage of creativity, not process, in scientific and musical thought, using the words of scientists and mathematicians as poetic texts, which generate musical imagery. I have chosen a series of quotations by notable scientists and mathematicians throughout history, which serve as textual introductions for each movement of the six-movement, approximately forty-five minute orchestral symphony. Each quotation makes reference to a specific scientific or mathematical discovery of its writer, or displays an aspect of his philosophy. The ideas expressed in the quotations serve as abstract inspiration and suggest musical imagery for each respective movement.
Committee in Charge: Dr. Robert Kyr, Chair; Dr. David Crumb; Dr. Jack Boss; Dr. Marilyn Linton
43
Moura, Eli-Eri Luiz de. „Nocturnales : for chamber orchestra“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23443.
Der volle Inhalt der QuelleAnnotation:
v.1. Musical composition -- v.2. Analysis.In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decisions based on intuitive considerations. The basis of the pitch system is a 1-2-1 tetrachordal set, to which are applied both principles of permutation and a modal treatment. In the rhythm domain, besides the conventional metric divisions of 2 and 3, predetermined numerical rows derived from the Fibonacci series to provide the durational values between event attacks are employed.
44
Currie, Neil Alan. „Rhapsody for saxophone and orchestra“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/NQ38874.pdf.
Der volle Inhalt der Quelle
45
Yamanaka, Keiko 1970. „X : for chamber orchestra (1998)“. Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21497.
Der volle Inhalt der QuelleAnnotation:
X is a composition for a chamber orchestra with a duration of approximately 13'30″. The title X (read as "cross") refers to a cross-weave pattern created by superimposing the trills and written-out tremolos in the piece. While the trills and tremolos are used throughout the piece to create a sense of textural variety, they have an important function in controlling the formal structure of the piece. The texture, which is one of the important features of the composition, makes the overall form apparent.
46
Crowley, Timothy R. (Timothy Robert). „In Nomine Domini“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.
Der volle Inhalt der QuelleAnnotation:
In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.
47
Thompson, Joshua Ketring. „Libby Larsen's Concerto for Trumpet and Orchestra: an overview and reduction of the orchestral score for trumpet and piano“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1093.
Der volle Inhalt der QuelleAnnotation:
Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, orchestral and academic communities by way of providing an historical account of the commission project; showing insight into the composer's inspiration for the work; and providing a reduction of the orchestral score for trumpet and piano.
48
Contreras, Maria Elena. „Paradoja: concerto for orchestra [score]“. Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/969.
Der volle Inhalt der QuelleAnnotation:
Music CompositionD.M.A.
Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algarabía (Tangle), reflects a festive affection; it presents a contrast to the first in character, tempo and spirit. The third movement, Sosiego (Serenity) provides a peaceful ending to the piece; it is lighter than the other two movements in texture and orchestration. The general harmonic language of Paradoja: Concerto for Orchestra is non-tonal yet centric, with surface references to functional harmony. However, the pitch content varies from movement to movement. The first movement is highly chromatic and based in the twelve-tone collection. The melodies are created by a combination of small pitch-class sets and sometimes are broken down and distributed among different instruments. Harmony is the result of the juxtaposition and counterpoint of these melodies, which vertically reiterate the same cells or creates new sets. The second movement is based on smaller collections than the first, and it is less chromatic. Contrast is often created by changing the collections or simply transposing them. The third movement is the most homophonic and the least chromatic of all three. It is based on a combination and juxtaposition of diatonic and non-diatonic collections that interact with each other. Paradoja: Concerto for Orchestra is examined in two broad categories. The first is a structural analysis, which includes details of form and pitch selection such as pitch collections, set classes and motives. The second is a stylistic analysis, which includes aspects of style such as rhythm, orchestration. The conclusion refers to the influence of historical models and aspects of the compositional process. Both the structural and stylistic analyses demonstrate how I have tried to merge diverse stylistic music elements to obtain a new personal idiom.
Temple University--Theses
49
Alley, Candace P. „Jasmine's Secret: Narrative Cantata for Five Solo Voices, Narrator, and Orchestra“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935619/.
Der volle Inhalt der QuelleAnnotation:
Since Jasmine's Secret contains elements of cantata and follows a dramatic story or program, the work may be classified as a narrative or dramatic story or program, the work may be classified as a narrative or dramatic cantata employing five solo voices, narrator and orchestra. This work attempts a revival of these two genres as a combined entity due to the decreased popularity of both cantata and programmatic music in the 20th century.
50
Flueck, Christa Anne. „A New Score for Orchestra Education Programs: A Descriptive Analysis of the Cleveland Orchestra's Learning Through Music Teacher and Musician Workshops“. The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392970753.
Der volle Inhalt der Quelle