Dissertationen zum Thema „Songs, secular (Mixed voices), Unaccompanied“
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Woodward, Mark E. McNeil Ryan Woodward Mark E. Aubuchon Rachel McKenney W. Thomas. „Three songs for unaccompanied choir“. Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6259.
Der volle Inhalt der QuelleAmstutz, Scott A. „The bells for eight-part mixed choir : text, Edgar Allan Poe /“. Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/835.
Der volle Inhalt der QuelleSmith, Steven Lyle. „Haiku Seasons“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2695/.
Der volle Inhalt der QuelleNorris, Thomas B. „In the Midst of Spoils: A Composition for Mixed Chorus (SATB) and Small Instrumental Ensemble“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935835/.
Der volle Inhalt der QuelleSchindler, Karl W. (Karl Wayne). „The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus“. Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.
Der volle Inhalt der QuelleWallace, Frank James. „Graduation recital compositions“. Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.
Der volle Inhalt der QuelleBolden, Benjamin. „Opus 25“. Thesis, 1997. http://hdl.handle.net/2429/5905.
Der volle Inhalt der QuelleJohnson, Julie. „A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /“. 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.
Der volle Inhalt der QuelleCawrse, Anne Rebecca Goldsworthy Peter Rossetti Christina Georgina. „Portfolio of original compositions and exegesis a personal exploration of modal processes /“. 2007. http://digital.library.adelaide.edu.au/dspace/handle/2440/49470.
Der volle Inhalt der QuelleCawrse, Anne Rebecca. „Portfolio of original compositions and exegesis: a personal exploration of modal processes“. Thesis, 2008. http://hdl.handle.net/2440/49470.
Der volle Inhalt der QuelleThesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
Cawrse, Anne Rebecca. „Portfolio of original compositions and exegesis: a personal exploration of modal processes“. 2008. http://hdl.handle.net/2440/49470.
Der volle Inhalt der QuelleThesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
„A portfolio of music compositions“. Thesis, 2013. http://library.cuhk.edu.hk/record=b5549254.
Der volle Inhalt der Quelle我嘗試在作品集當中運用一些以前我並不經常使用的作曲概念、作曲技巧,及配器法和一些樂器組合,以致我可以創作一些突破我以往風格的作品。以上三首作品都屬於不同類型,也有作不同的特質;樂曲順著創作日期先後而排列。我嘗試在 “謎語 I, 110806 和 “影。空 這兩首較早期的作品中實驗一下當時對我而言是創新的樂曲種類和作曲技巧。較近期的作品“交響詩是為管樂團而作。因為我學習圓號多年,所以這是我最熟悉的樂曲類型。
“謎語 I, 110806“
這是一首為四個電話而作的實驗性作品,藉此表達出我們每天都在經歷充滿戲劇性的人生。電話可以產生出脈衝和音頻聲響,無疑是一件樂器。其實很多圍繞著我們的事物都可以用來創作音樂。我為這首樂曲的演出預先預備了一些錄音以在樂曲中特定的時間播出。演奏者可以按他們自己的喜惡以其他錄音代替。
“影。空“
這是一首揉合電子合成器所產生的電子音效和真實錄音的電子音樂作品。創作靈感來自<聖經>的<傳道書>,我特別是被當中認為人生在世一切都如捕風捉影所觸動。我在音樂中使用了風聲作為一固定反復的樂句以貫穿全曲。有此作為一個無間斷的承托部分令到一些不可能在真實樂器演奏中發生的細緻音樂元素可以在這首樂曲中呈現。
“交響詩“
這首樂曲的最大特點是我選擇在這首管樂團作品中運用了豎琴和馬林巴琴的二重奏。樂曲起始是一些精簡又有著強烈對比的樂段,這些樂段在樂曲較後部分融合一起,並發展成一長樂段。我在樂曲中主要著意於創造優美的旋律,當中蘊含著不規則的分句,卻不影響樂曲本身的流暢性。
This portfolio consists of three pieces: Enigma I, 110806 for four domestic telephones, In Vain Like A Shadow an electronic piece, A Symphonic Poem for concert band
In my portfolio, I have attempted to use the compositional concepts and techniques, as well as orchestration and instrumentation method that were unfamiliar to me before, so as to ensure that I was writing works that would stretch beyond my usual musical tendencies. The three pieces in my portfolio all have distinctive styles and genres; each will be presented chronologically according to its completion date. In my two earlier pieces, Enigma I, 110806 and In Vain As A Shadow I wish to experiment with the genres and techniques that were new to me at the time. The most recent work, A Symphonic Poem, is composed for concert band. It is the genre that I am most comfortable and familiar with, owing to my years of training on the French horn.
Enigma I, 110806
This is an experimental piece composed for four domestic telephones. This came out of my idea of creating a work that would enable music to express the drama we encounter in our daily lives. The telephone is no doubt a musical instrument--it can generate pulses and pitched tones. In fact, many objects that surround us can be used to create music. For the performance of this work in the past, I have prepared some pre-existing recorded sound tracks that can be played alongside at particular moments in time. However, those who wish to make their own sound tracks to substitute mine for the performance are welcome to do so.
In Vain As A Shadow
This is an electronic piece that combines recorded live sounds with effects that are produced by a synthesizer. While composing this work, I was inspired by the book Ecclesiastes from the Holy Bible; in particular, I was struck by the part about how the life of a man is a vanity. In my music, I have used a drone-like ostinato that permeates throughout the entire work. Using this as the long, seamless foundation of my piece, while delicate gestures are introduced up above, is something that would have been impossible if only acoustic instruments are used.
A Symphonic Poem
What is most unusual in this work is probably my choice to feature a duet for harp and marimba within a wind band. This piece begins with a few short, contrasting sections that are later combined with one another, and eventually grow to become one long stretch. Much of my attention in working through this piece has been focused on creating beautiful melodic lines that have irregular phrasings, yet will not interfere with the continuous musical flow.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Cheng, Ming Hin Henry.
"December 2012."
Thesis (M.Mus.)--Chinese University of Hong Kong, 2013.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese.
Volume I:
Cover Page
Content Page
Acknowledgments --- p.i
Abstract --- p.ii
Enigma I, 110806 --- p.1
In Vain As A Shadow --- p.8
Volume II:
Cover Page
A Symphonic Poem --- p.1
Muyco, Maria Christine. „Compositions“. Thesis, 1998. http://hdl.handle.net/2429/7965.
Der volle Inhalt der Quelle„A portfolio of four original music compositions“. 1998. http://library.cuhk.edu.hk/record=b5889514.
Der volle Inhalt der Quellesubmitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
„A portfolio of music compositions“. 2006. http://library.cuhk.edu.hk/record=b5896515.
Der volle Inhalt der QuelleThe giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.
Tang Lok-yin.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.
Librettos (1st work) in English ; abstracts in English and Chinese.
Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"
Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas
Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics
Chapter Composition 4 --- Playing Game for Orchestra
Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra
Chapter Composition 6 --- Volcanicity 《原´Ø始)for Sheng and Chinese Orchestra
„A portfolio of music compositions“. Thesis, 2004. http://library.cuhk.edu.hk/record=b6073653.
Der volle Inhalt der QuelleYang Jin Fong.
"June 2004."
Thesis (D.Mus.)--Chinese University of Hong Kong, 2004.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.
Weekes, Diana K. „Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis“. 2007. http://hdl.handle.net/2440/57119.
Der volle Inhalt der QuelleThis doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music.
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Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007