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Thematische Bibliographien / Suites (Orchestra) Scores

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Auswahl der wissenschaftlichen Literatur zum Thema „Suites (Orchestra) Scores“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 8. Februar 2022

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Zeitschriftenartikel zum Thema "Suites (Orchestra) Scores"

1

Mäkilä, Sasha. „Kohti kriittistä editiota. Musiikkifilologinen analyysi Leevi Madetojan ensimmäisen sinfonian käsikirjoituslähteistä“. Trio 10, Nr. 1 (10.07.2021): 9–39. http://dx.doi.org/10.37453/trio.v10i1.110033.

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Leevi Madetoja’s (1887–1947) first symphony in F major, opus 29 (1916) was not printed during the composer’s lifetime. All performances of the work until the 1980s were played from handwritten orchestra parts. The printed score by Fazer from 1984 is riddled with numerous omissions, wrong pitches and mistakes in articulation and dynamics, and it seems to be a hybrid of the composer’s two manuscripts from 1916 and 1943 by an unknown editor. By today’s standards, the result is questionable, considering that the manuscripts were separated by 27 years. This article takes a look at the manuscript sources of Madetoja’s first symphony and is part of a larger project producing critical editions of Madetoja’s orchestral works. My research question is, what are the manuscript sources of Madetoja’s first symphony, and how are they related? I describe the autographs and handwritten orchestra parts and locate them in the source chain using genealogical reasoning and biographical information. I point out which orchestra materials and autographs are connected and highlight essential differences between the manuscripts from the point of view of the critical edition. Finally, I consider which of the autographs would be best suited as the principal source of the new critical edition.

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2

Urniežius, Rytis. „Two Orchestral Embodiments of Three Pieces from op. 54 by Edvard Grieg“. Musicological Annual 56, Nr. 1 (30.06.2020): 101–32. http://dx.doi.org/10.4312/mz.56.1.101-132.

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Lyric Suite is an orchestral version of four movements from Grieg’s Lyric Pieces V, op. 54. Three out of these four movements exist in two orchestral versions. The aim of the current research is to highlight peculiar traits of Grieg’s orchestral style in the late period of composer’s life by comparing scores of two orchestrators.

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3

Vallis, Owen, Dimitri Diakopoulos, Jordan Hochenbaum und Ajay Kapur. „Building on the Foundations of Network Music: Exploring interaction contexts and shared robotic instruments“. Organised Sound 17, Nr. 1 (14.02.2012): 62–72. http://dx.doi.org/10.1017/s1355771811000525.

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Historically, network music has explored the practice and theory of interconnectivity, utilising the network itself as a creative instrument. The Machine Orchestra (TMO) has extended this historical idea by developing the custom software suite Signal, and creating a shared, social instrument consisting of musical robotics. Signal is a framework for musical synchronisation and data sharing, designed to support the use of musical robotics in an attempt to more fully address ideas of interconnectivity and embodied performance. Signal, in combination with musical robotics, also facilitates the exploration of interaction contexts, such as at the note level, score level and sound-processing level. In this way, TMO is simultaneously building upon the historical contributions and developing aesthetics of network music.

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4

Robinson, Harlow. „The Caucasian Connection: National Identity in the Ballets of Aram Khachaturian“. Nationalities Papers 35, Nr. 3 (Juli 2007): 429–38. http://dx.doi.org/10.1080/00905990701368670.

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The ballets of Aram Khachaturian (1903-1978) occupy a special place in the history of Soviet ballet and of Soviet music. Considered along with Dmitri Shostakovich and Sergei Prokofiev as one of the leaders of Soviet music, Khachaturian devoted many years to the creation of ballet, although in the end he produced only three ballet scores: Schast'e [Happiness], completed in 1939; Gayane, completed in 1942; and Spartak [Spartacus], completed in 1954. Of these three, Gayane and Spartacus (both repeatedly revised) were notably successful, both immediately acclaimed as important new achievements in the development of an identifiably Soviet ballet style. Taken on tour abroad by the Bolshoi Ballet in a revised version, Spartacus also became one of the most internationally successful ballets written by a Soviet composer, although it never came close to equaling the international recognition eventually achieved by Prokofiev's Soviet ballets Romeo and Juliet or Cinderella. Gayane was not widely staged outside the USSR, but some of the music from the ballet, arranged into three orchestral suites by the composer, became very popular internationally—particularly the “Sabre Dance,” which became the single most recognized piece of Khachaturian, recycled repeatedly in Hollywood film scores.

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5

Munoz-Montoro, Antonio Jesús, Julio José Carabias-Orti, Pedro Vera-Candeas, Francisco Jesús Canadas-Quesada und Nicolás Ruiz-Reyes. „Online/offline score informed music signal decomposition: application to minus one“. EURASIP Journal on Audio, Speech, and Music Processing 2019, Nr. 1 (Dezember 2019). http://dx.doi.org/10.1186/s13636-019-0168-6.

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AbstractIn this paper, we propose a score-informed source separation framework based on non-negative matrix factorization (NMF) and dynamic time warping (DTW) that suits for both offline and online systems. The proposed framework is composed of three stages: training, alignment, and separation. In the training stage, the score is encoded as a sequence of individual occurrences and unique combinations of notes denoted as score units. Then, we proposed a NMF-based signal model where the basis functions for each score unit are represented as a weighted combination of spectral patterns for each note and instrument in the score obtained from a trained a priori over-completed dictionary. In the alignment stage, the time-varying gains are estimated at frame level by computing the projection of each score unit basis function over the captured audio signal. Then, under the assumption that only a score unit is active at a time, we propose an online DTW scheme to synchronize the score information with the performance. Finally, in the separation stage, the obtained gains are refined using local low-rank NMF and the separated sources are obtained using a soft-filter strategy. The framework has been evaluated and compared with other state-of-the-art methods for single channel source separation of small ensembles and large orchestra ensembles obtaining reliable results in terms of SDR and SIR. Finally, our method has been evaluated in the specific task of acoustic minus one, and some demos are presented.

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Dissertationen zum Thema "Suites (Orchestra) Scores"

1

Xin, Hua (Composer). „Evocative Foreshadowing: The Motivic Construction in "The Legend of Two Rings"“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011770/.

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2

Cary, Tristram. „Portfolio of original compositions“. Title page and table of contents only, 2000. http://web4.library.adelaide.edu.au/theses/09MUD/09mudc333.pdf.

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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.

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3

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/.

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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.

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4

Lucas, James Edward. „Score and analysis of the International Suite for Two Pianos and Orchestra /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.

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5

McKee, David Frank. „ALABAMA SUMMER: SUITE FOR ORCHESTRA WITH STRUCTURAL AND HARMONIC ANALYSIS“. Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/776.

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Thesis (D.M.A.)--University of Kentucky, 2008.
Title from document title page (viewed on May 13, 2008). Document formatted into pages; contains: vii, 114 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 112).

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6

White, Paul Greggers. „Discord suite for jazz orchestra“. Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110741.

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7

„A portfolio of music compositions“. 2005. http://library.cuhk.edu.hk/record=b5892650.

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Remembrance -- Suite -- Symphonic prelude.
Ng Wah-hei.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2005.
Abstracts in English and Chinese.
Abstract --- p.i
Table of Contents --- p.ii
Acknowledgements --- p.iii
Chapter 1. --- Remembrance for Orchestra --- p.1
Chapter 2. --- "Suite for Flute, Clarinet, Cello, and Percussion" --- p.58
Chapter 3. --- Symphonic Prelude for Orchestra --- p.100

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8

„Requiem and dream: a ballet suite“. Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888418.

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by Lo Hau Man.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1995.
Chapter 1 --- Programme notes of Requiem --- p.1-1
Text of Requiem --- p.1-3
Programme notes of Dream --- p.1-7
Chapter 2 --- Requiem --- p.2-i
Instrumentation --- p.2-ii
Note and Directions --- p.2-iii
Chapter (I) --- Requiem Aeternam --- p.2-1
Chapter (II) --- Dies Irae 2- --- p.24
Chapter (III) --- Offertorio --- p.2-108
Chapter (IV) --- Sanctus --- p.2-122
Chapter (V) --- Agnus Dei --- p.2-137
Chapter (VI) --- Libera Me --- p.2-147
Chapter 3 --- Dream - Ballet Suite --- p.3-i
"Instrumentation, Note & Direction" --- p.3-ii
Chapter (I) --- Allemande --- p.3-1
Chapter (II) --- Air --- p.3-6
Chapter (III) --- Gigue --- p.3-11

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Bücher zum Thema "Suites (Orchestra) Scores"

1

Bridge, Frank. Suite for string orchestra. Boca Raton, Fla: E.F. Kalmus, 1996.

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2

Respighi, Ottorino. Antiche danze ed arie per liuto: I. suite (sec. XVI). Milano: G. Ricordi, 1987.

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3

Tanz-Suite: Für Orchester (1923). [Wien: Universal Edition, 2009.

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4

Respighi, Ottorino. Antiche danze ed arie per liuto: II. suite (sec. XVI e XVII). Milano: G. Ricordi, 1986.

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5

Handel, George Frideric. Water music =: Wassermusik : HWV 348-350. Kassel: Bärenreiter, 1986.

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6

Holst, Gustav. St. Paul's suite: For string orchestra. Boca Raton, Fla: E.F. Kalmus, 1997.

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7

Holst, Gustav. Two songs without words: Op. 22 ; Brook Green suite ; St. Paul's suite. München: Musikproduktion Höflich, 2006.

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8

Respighi, Ottorino. Antiche danze ed arie per liuto: III. suite (sec. XVI e XVII). Milano: G. Ricordi, 1987.

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9

Ravel, Maurice. Le tombeau de Couperin. Boca Raton, Fla: E.F. Kalmus, 1995.

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10

1875-1937, Ravel Maurice, Hrsg. Pictures at an exhibition =: Tableaux d'une exposition = Bilder einer Ausstellung. London: Boosey & Hawkes, 1997.

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