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Thematische Bibliographien / Trios (Piano, flute, vibraphone) / Dissertationen

Dissertationen zum Thema „Trios (Piano, flute, vibraphone)“

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Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 26. Juli 2024

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1

Edwards, Peter Ivan Edwards Peter Ivan. „Two explorations in musical objects /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170275.

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Thesis (Ph. D.)--University of California, San Diego, 2005.
Includes 2 compositions: Puer natus est nobis (zu irgendeiner Zeit) for full orchestra, and Annicha, for flute, clarinet, and piano. Vita. Includes audio reel tape of compositions (analog, stereo., 7 1/2 ips : 7 in.).

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2

Wang, Jennifer. „Wind in her hair for alto flute, vibraphone, electric guitar, voice, piano, violin, violoncello, and tape /“. Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085678411/ucin1085678411.pdf.

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3

Hannesson, Mark Joel. „Folie à deux : a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing“. Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13908.

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Folie à deux is a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing. It explores the idea of musical influence through the metaphor of shared delusion. This dissertation is made up of four main sections. The first will look at the background to the piece, the historical and personal influences that led to its composition. The second section will discuss those aspects of the piece that are somewhat unique as well as an examination of how it does not correspond to standard practices. Next, a detailed examination of the steps taken to bring the piece to fruition will be explored. Finally, some concluding remarks will be made about the piece and the future creative directions that may be followed in its wake.

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4

Chan, Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok. „Inspired by the Hindu tradition compositions and reflections /“. Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37933966.

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5

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.

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6

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.

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7

Copeland, Warren. „Time for bee: a recital of compositions“. Thesis, 1994. http://hdl.handle.net/2429/5123.

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Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well.

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8

Barkoskie, Alvez Theodore. „Rasgueado for flute, clarinet in Bb, violin, cello, percussion and piano“. Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4822.

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"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello.
text

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9

„Three compositions“. Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5895456.

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by Lee Chui Ling.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.
Preface --- p.1
Chapter I. --- Twinkling --- p.3
Chapter i) --- Analysis-----Introduction --- p.4
Chapter ----- --- Formal structure
Chapter ----- --- Musical elements
Chapter ii) --- Score (with performance notes) --- p.8
Chapter II. --- Emancipation --- p.14
Chapter i) --- Analysis 226}0ؤ Introduction --- p.15
Chapter ----- --- First movement ~ Formal structure
Chapter ~ --- Orchestration
Chapter ----- --- Second movement ~Formal structure
Chapter ~ --- Harmony
Chapter ----- --- Third movement ~ Formal structure
Chapter ~ --- Musical elemets
Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25
Chapter III. --- Once Upon a Time --- p.105
Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106
Chapter ----- --- Formal structure
Chapter ----- --- Scale
Chapter ----- --- Quotation
Chapter ii) --- Score (with performance notes) --- p.111

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10

Bazala, Alison Andrist Audrey Vadala Kathleen Newman Edward Boyle Tara. „Bohuslav Martinů's chamber music for violoncello and piano“. 2005. http://hdl.handle.net/1903/9747.

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11

Kim, Yeong Su Ko Eunae. „20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"“. 2006. http://hdl.handle.net/1903/9756.

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12

Goodner, Robert Lynn. „Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings“. 2007. http://hdl.handle.net/1903/9729.

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13

„A portfolio of four original music compositions“. 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted 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

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14

Bolden, Benjamin. „Opus 25“. Thesis, 1997. http://hdl.handle.net/2429/5905.

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Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette.

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15

„A portfolio of music compositions“. 2006. http://library.cuhk.edu.hk/record=b5896515.

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.
The 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

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