Dissertations / Theses: 'Chamber music'

1

Woodruff, Julian Duke. "Cherubini's string chamber music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059869q.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Poston, Paul W. "Chamber Symphony." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731175.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Wyber, Leslie Paulette. "Solo and chamber music recitals." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28878.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Lee, Erin. "New audiences for new music a study of three contemporary music ensembles /." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1240423668.

Full text

Abstract:

Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration, 2009.
"May, 2009." Title from electronic thesis title page (viewed 8/1/2009) Advisor, Durand Pope; Faculty Readers, Neil Sapienza, George Pope; School Director, Neil Sapienza ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

APA, Harvard, Vancouver, ISO, and other styles

5

Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

Full text

Abstract:

Ondo was written for my grandmother’s 88th birthday. The composition comprises six sections based on a popular folksong, called “Tanko-Bushi,” which can be heard in every Japanese town during the Bon festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. “Tanko-Bushi” became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on Ondo, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity—as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of Ondo on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.

APA, Harvard, Vancouver, ISO, and other styles

6

Huss, Fabian Gregor. "The chamber music of Frank Bridge." Thesis, University of Bristol, 2011. http://hdl.handle.net/1983/4bfd9bcb-632d-468d-817a-c68a27dd7ebf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Sanchez, Richard Xavier. "Spanish chamber music in Eighteenth century /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121943x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Clem, Paul. "The composition, a chamber opera." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2384.

Full text

Abstract:

The Composition is a chamber opera for nine musicians and from four to eight actors. The work is approximately thirty-five minutes long and consists of seven short pieces of music separated by dialogue. The subject of the libretto is a composer with writer's block. During the course of the piece, seven figures make appearances to the composer who personify various philosophies of musical aesthetics. An argument for a particular viewpoint is presented to the composer through dialogue, and the composer then attempts to write a piece of music using that philosophy as a guide. The audience then hears this music being played by the ensemble. This process is repeated until all seven aesthetics have been presented. In conjunction with the composed music, an attached research paper analyzes the techniques used in writing the music and gives examples of prominent composers associated with each of the seven schools of thought.

APA, Harvard, Vancouver, ISO, and other styles

9

Wozniak, Trevor Mathew. "Four Fluctuations for Chamber Ensemble or Chamber Orchestra." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291050505.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Brandt, Shawn Patrick. "Chamber Essay #4." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1383913640.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Wilschut, Rianne Geertje. "Close Encounters - Chamber Music in Small Venues." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/382020.

Full text

Abstract:

Chamber music originated in the intimate setting of a small room, or chamber, but has in recent times found a large and appreciative audience at performances in mainstream concert halls. In parallel, many artists and promoters are recreating the intimate concert experience in small venues, many of which are community venues away from the mainstream venue circuit. Australia’s Artico Ensemble is a quartet of professional musicians specialising in creating chamber music performances in small community venues such as churches, museums, and private homes in and around Brisbane, Queensland. Their experiences form the basis of this Doctoral research study, in which a mixed-method ethnographic case study of Artico Ensemble investigates the experience of engaging in this type of performance from the viewpoint of the three partners involved: the artists, the audience and the venue administrators. In this dissertation, the four ensemble members provide the artists’ story, and results of an audience survey create a demographical profile of Artico Ensemble’s audience members, an analysis of their listening and concert attending habits and an exploration of their experience of attending the specific case study concert. Personal interviews with venue administrators highlight their experience of and motives for undertaking management of these events. Generated by the study’s second line of enquiry, this dissertation also presents findings regarding the strengths and challenges of this type of music making for all involved. To clarify its context, comparisons are drawn with International and Australian literature investigating arts participation, audience and community engagement, and the chamber music experience. As a member of Artico Ensemble, my position as artist and researcher will provide the lived-in experience of self-reflective and practice-led artistic research. This doctoral study crosses over into practice-based research through the inclusion of two short documentary trailers, which have served to generate data as well as highlight study findings.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text

APA, Harvard, Vancouver, ISO, and other styles

12

Cook, Janis L. "In the moment: Curating chamber music performance." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/407571.

Full text

Abstract:

In this thesis, Janis Cook explores ways in which the thoughtful curation of a chamber concert can enhance the reception of the musical repertoire. This avenue of research has evolved from questioning why performances of musical artworks which reflect a significant portion of Australia’s cultural inheritance attract only a niche and arguably diminishing audience. The author establishes points of view which emphasise the deep cultural connections inherent in music, embrace the social aspect of performance, eschew the division of the expressive realm of the arts into discrete categories, and consider the role of music in the current metamodernist milieu. A scan of historical and current performance practice precedes a discussion of the power of curation as a tool of communication. As primary research projects, three chamber-music events apply concepts from narrative theory, the philosophy of experiential time, and the general field of arts curation. Around these curated performances, para-curatorial approaches experiment with the distribution of printed programmes after the performance, and a Pay-What-You-Want business model. The methodology consists of the design and execution of the performances as curations, analysis of informal and ethics-approved feedback about the curations, and exegesis mapped by recordings of the curated performances and the overall artistic journey. Many musical examples and video links exemplify the curatorial outcomes. A fourth and supplementary project points to the future of the performing arts in an increasingly online world. It suggests new ways of adapting the power of curation to suit digital formats, rather than mere live-streamed or pre-recorded onstage performances, by utilising the infrastructure already in place which serves the music industry at large. Janis Cook addresses the place of chamber music in contemporary society, the role of performing artists as art performers, and the imperative for chamber players to contribute to current culture. The study reveals strong arguments for thoughtfully designing an audience’s chamber concert experience and identifies avenues for further research.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text

APA, Harvard, Vancouver, ISO, and other styles

13

Redshaw, Jacqueline. "Chamber Music for the E-Flat Clarinet." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194436.

Full text

Abstract:

This work will examine chamber works involving up to 12 players which include the E-flat soprano clarinet. Doubling parts, defined as B-flat and E-flat clarinet on one part for one performer, will be included only if the E-flat clarinet is present for one or more entire movements. The intent is to show that this lesser-known repertoire includes numerous and varied works which are both unique and distinctive.No extant literature on this subject is currently available. The importance of playing auxiliary instruments cannot be emphasized enough as competition and demand increase in today's professional performing climate; therefore, I believe the subject to be of value as a source for those performers who wish to broaden their knowledge of the literature and increase their career viability. It is hoped that this paper will become a vital addition to the store of clarinet repertoire which is catalogued at this time.The examination of this music will be primarily from a performance perspective, and will include in-depth discussion of the points of interest and challenges of the most prominent works. Included is an annotated bibliography, providing a complete list of the repertoire with brief synopses. Detailed background information will also be presented, delving into such areas as composers' inspiration (why choose the E-flat clarinet?), their other works of the same period, premiere performances and possible dedicatees, and other significant influences.

APA, Harvard, Vancouver, ISO, and other styles

14

Bellomy, Christine M. "The clarinet chamber music of Phyllis Tate." Diss., University of Iowa, 2004. https://ir.uiowa.edu/etd/4554.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

16

O'Brien, Mark W. "Crossed lines : for chamber ensemble." Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2298.

Full text

Abstract:

This work was written for ten performers plus tape. The instruments are divided into two groups, each with a distinct personality: flute, clarinet, horn, violin and cello in an "orderly" group, and three percussionists, piano, doublebass and tape in a "chaotic" group. The first two sections introduce these groups separately. The third section returns to the order group, which begins to show a chaotic influence. The fourth section, for tape alone, echoes the first in its stability. The final section, for the entire live ensemble, fuses the two groups into a texture which is not entirely chaotic, nor entirely orderly.

APA, Harvard, Vancouver, ISO, and other styles

17

McDonald, Richard F. (Richard Frederic). "Kinetico for Chamber Wind Ensemble." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504015/.

Full text

Abstract:

This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.

APA, Harvard, Vancouver, ISO, and other styles

18

McManaman, Steve. "High wire : for chamber orchestra." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59600.

Full text

Abstract:

The way I approached this analysis was to start with two general statements, one on the form and the other on the harmony. This was so the reader could get a sense of the direction of the piece. Then I did a fairly detailed analysis of the introduction since most of the ideas originate from there. The rest of the piece is discussed in less detail, but occasionally there were places that needed a little more detailed explanation. In the postscript I describe some of my influences.

APA, Harvard, Vancouver, ISO, and other styles

19

Chan, Chin Ting. "Apparitions − a fantasy for chamber ensemble." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300936213.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Mtimkulu, Nosindiso W. "An analytical study of selected chamber works." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/7891.

Full text

Abstract:

Bibliography: leaves 174-176.
This study examines Schoenberg's compositional procedures in selected chamber works written between 1906, when Schoenberg started to move away from tonality, until 1936, when his twelve-tone technique had been firmly established.

APA, Harvard, Vancouver, ISO, and other styles

21

Kirk, Elise Kuhl. "The chamber music of Charles Koechlin (1867-1950) /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122054b.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Leclair, Charmaine Françoise. "The solo and chamber music of Silvestre Revueltas /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400345980.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

24

Elezovic, Ivan. "Echoes : [for] tenor, chamber ensemble & computer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33369.

Full text

Abstract:

Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?
As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.

APA, Harvard, Vancouver, ISO, and other styles

25

Hinson, Eugenia K. "Arthur William Foote : his contribution to chamber music in Boston and analyses of selected piano chamber works." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902511.

Full text

Abstract:

Arthur William Foote (1853-1937) was a member of the "Second New England" school of composers, and is known primarily for his work as a composer. This study shows that Foote was also very active in chamber music and that his influence in the musical community was by no means limited to his work as a composer.Several scrapbooks exist containing programs, letters, telegrams, newspaper articles, reviews, and photographs which Foote collected over a twenty-six-year period. These scrapbooks are arranged, for the most part, in chronological order and chronicle Foote's life and musical activity as no other source does.Foote was a very active chamber musician. He established and maintained a series of chamber music concerts where none had existed before; he sought out the best musicians of the time to write for, perform with, and learn from; and he traveled to many regions of the United States, and to parts of Europe, listening, learning, teaching, and performing.All of Foote's chamber music works, except for the works for cello, remain out-of-print or unpublished. Ten chamber works which include piano and that have been assigned opus numbers are examined historically and analytically in this study;TRIO IN C MOLL, fir Pianoforte, Violine and Violoncell, Op. 5DREI CHARAKTERSTUCKE, fair Clavier and Violin, Op. 9 SONATE IN G MOLL, fir Klavier and Violine, Op. 20QUARTETT IN C DUR, fir Klavier, Violine, Bratsche and Violoncell, Op. 23 TROIS PIECES, pour hautbois et piano, Op. 31
School of Music

APA, Harvard, Vancouver, ISO, and other styles

26

Neher, Lisa Rose Julianna. "The chamber vocal works of Gabriela Lena Frank." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2250.

Full text

Abstract:

The purpose of this essay is to introduce readers to the music of living American composer Gabriela Lena Frank (b. 1972) through her chamber vocal works and to provide a resource to aid in the interpretation and performance of her music. Frank is an internationally recognized composer with a thriving career. However, she is not widely known among singers and teachers of singing and scholarship on her music is quite limited. This study seeks to fill that void by examining Frank’s published works as of January 2016 for solo voice and up to six instruments. These works are Cuatro Canciones Andinas (1999), for mezzo-soprano and piano; New Andean Songs (2008), for soprano, mezzo-soprano, two percussionists, and two pianos; Seven Armenian Songs (2013), for soprano, percussionist, and solo violin; and Honey (2013), for soprano, mezzo-soprano, and piano. Frank’s chamber vocal pieces are excellent additions to the repertoire and notable for Frank’s chamber music aesthetic, choice of diverse texts and languages (English, Spanish, and Armenian), dramatic storytelling, range of musical colors, and idiomatic writing for the performers. Frank’s ongoing exploration of her Peruvian heritage is reflected in two of these works, which draw inspiration from Andean folk music and poetry. This essay provides a brief biography of Frank; original poetic and musical analyses of the four works, exploring the areas of poetry, form, melody and motive, text painting, rhythm, harmony, folk influences, vocal writing, instrumental writing, timbre, range, and tessitura; and a summary of stylistic traits as seen across this sample. Poetic and word for word translations of foreign language texts, pronunciation guidelines for Latin American Spanish and International Phonetic Alphabet transliterations for the Armenian poems are included.

APA, Harvard, Vancouver, ISO, and other styles

27

KOSTRABA, GREGORY CHRISTIAN. "THE FIRST PIANO TRIO BY ROBERT MUCZYNSKI." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1048094945.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Sumner, Lott Marie. "Audience and style in nineteenth-century chamber music, c. 1830 to 1880 /." Digitized version, 2008. http://hdl.handle.net/1802/7668.

Full text

Abstract:

Thesis (Ph. D)--University of Rochester, 2008.
Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7668

APA, Harvard, Vancouver, ISO, and other styles

29

McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Gray, Megan. "Teaching music entrepreneurship in the chamber music classroom: a cross-disciplinary curricular framework." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5763.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Omelchenko, Stas. "Concerto for Organ and Chamber Orchestra." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5032.

Full text

Abstract:

This composition proposes and implements a way in which to incorporate the pipe organ into a contemporary instrumental setting. Considering the instrument's wide use in concert halls and its popularity with contemporary music, much of the timbre-based music has evaded incorporating it into its settings; for one reason or another, there are currently no timbre-based works composed for organ and chamber orchestra. By using the process of spectral analysis, this timbre-based composition demonstrates one possible way of doing so by investigating timbre similarities and differences between selected ranks of the organ and selected orchestral instruments and mapping them into pitch structures.

APA, Harvard, Vancouver, ISO, and other styles

32

ANDERSON, DIANNA. "CHAMBER MUSIC IN EARLY PIANO STUDY: A GUIDE TO REPERTOIRE." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085758063.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Palamara, Jason Andrew. "Dysphonia, for solo violin, chamber ensemble and live electronics." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1718.

Full text

Abstract:

DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system worn by a dancer. The piece was choreographed by Professor Charlotte Adams of the University of Iowa Dance Department and premiered at the Faculty Graduate Dance Concerts in February of 2015. This piece is inspired by ongoing research into computer programming, gesture and music-making, artificial intelligence (AI), and creative algorithms. While the actual algorithms I developed for use in this piece are far from sentient, it is my hope that this piece may bring about discussion and further interest in creative AI. In our initial discussions, choreographer Charlotte Adams and I discovered that we both have witnessed a large number of people buying into immersive technologies without questioning the total cost to their well being, without questioning whether the technology has a positive impact on their lives, and without an understanding regarding the complex changes being wrought in our society due to the mass adoption of such technologies. Thus we designed this piece around the technology itself, so that the union between the dancer and the prosthesis is brought about by the movement and action that takes place in the piece. The intent was to create a scene where the audience suddenly becomes aware that something new is happening, namely that the dancer’s glove has started to make noise and there is a new connection made between the music and the dance.

APA, Harvard, Vancouver, ISO, and other styles

34

Norton, Benjamin D. "Little Eichmanns: A Composition for Chamber Octet." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/18.

Full text

Abstract:

An original composition in one movement for a chamber octet comprised of a string quartet and a jazz piano quartet with tenor saxophone. The work develops an idée fixe, introduced in the opening bars, through a wide variety of transformations, textures, and styles. The two quartets begin in antiphonal alteration, united in thematic material, yet separated by style. A modern art music style contrasts with an improvisational jazz style. Gradually, the two quartets, and their concomitant musics, bleed into one another, breaking down stylistic boundaries. In the conclusion of the work, the idée fixe, the supplementary themes, and the two quartets coalesce into an organic sonic whole.

APA, Harvard, Vancouver, ISO, and other styles

35

Niepoetter, Jay Eric. "Solo and chamber music of Pulitzer Prize-winning composers." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/242.

Full text

Abstract:

Thesis (D.M.A.) -- University of Maryland, College Park, 2004.
Thesis 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.

APA, Harvard, Vancouver, ISO, and other styles

36

Burgess, Jean E. "High Culture as Subculture : Brisbane's Contemporary Chamber Music Scene." Thesis, The University of Queensland, 2004. https://eprints.qut.edu.au/28527/1/28527.pdf.

Full text

Abstract:

The aim of the dissertation is to discover the extent to which methodologies and conceptual frameworks used to understand popular culture may also be useful in the attempt to understand contemporary high culture. The dissertation addresses this question through the application of subculture theory to Brisbane’s contemporary chamber music scene, drawing on a detailed case study of the contemporary chamber ensemble Topology and its audiences. The dissertation begins by establishing the logic and necessity of applying cultural studies methodologies to contemporary high culture. This argument is supported by a discussion of the conceptual relationships between cultural studies, high culture, and popular culture, and the methodological consequences of these relationships. In Chapter 2, a brief overview of interdisciplinary approaches to music reveals the central importance of subculture theory, and a detailed survey of the history of cultural studies research into music subcultures follows. Five investigative themes are identified as being crucial to all forms of contemporary subculture theory: the symbolic; the spatial; the social; the temporal; the ideological and political. Chapters 3 and 4 present the findings of the case study as they relate to these five investigative themes of contemporary subculture theory. Chapter 5 synthesises the findings of the previous two chapters, and argues that while participation in contemporary chamber music is not as intense or pervasive as is the case with the most researched street-based youth subcultures, it is nevertheless possible to describe Brisbane’s contemporary chamber music scene as a subculture. The dissertation closes by reflecting on the ways in which the subcultural analysis of contemporary chamber music has yielded some insight into the lived practices of high culture in contemporary urban contexts.

APA, Harvard, Vancouver, ISO, and other styles

37

DELL, AMANDA PROCTOR. "THE CLARINET IN THE VOCAL CHAMBER MUSIC OF ANTON WEBERN." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1108347266.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Winland, Isaac. "A Survey of Chamber Works for Trumpet and Electronics." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525253603796527.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Poteat, Angelique M. "Spring Grove for chamber orchestra." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322411.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Amstutz, Scott Anthony. "Mountain Views for Chamber Orchestra." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333460.

Full text

Abstract:

Mountain Views for Chamber Orchestra is a three-movement piece that evokes various geographic and aesthetic attributes of the Catalina Mountains in Tucson Arizona. It makes use of musical elements such as time, theme, color/timbre, and texture from the chamber ensemble that are conducive to the evocation of contours, colors, and polyphonies necessary for the images found in the work. "Early Morning Clouds Descending on the Catalinas," the first movement of Mountain Views depicts the picturesque Catalinas as they are often seen in the mild winter mornings of Tucson. The slow introduction conveys the early dawn and the episodic middle section uses ostinato-like repetitions and sudden juxtapositions of block-like figures that depict a hidden and secretive landscape. "Cancion del saguaro," the second movement is much slower than the previous movement and features a more aria-like treatment yet, still with some repetitious accompanimental figures. This movement depicts a lonely cactus within the mountain landscape with chromatic glissandos that imply scale and incline. "Danzas de sombra," the last movement depicts the mountain face at dusk using white-note collections and contrasting black-note collections that depict bright and shadowy sections of the mountain. This movement is more segmented or episodic with the different sections distinguishable not only by their key areas and modes but also registrally and metrically with a greater use of mixed meter and dance-like rhythms in the black-note shadowy sections.

APA, Harvard, Vancouver, ISO, and other styles

41

Wu, Yuk Yee. "The Reflection." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500400/.

Full text

Abstract:

The Reflection is a piece of chamber music that describes the human nature through the use of different "meanings" in music. By using various leitmotifs and different compositional techniques, the music becomes a helpful tool to reflect meanings. On the other hand, this piece uses one special idea, which is that the whole piece can be explained in terms of visual arts. Each primary motive represents a "primary color" that reflects various "moods" or "emotions." Through using combinations and mixtures of color, different "sceneries" are formed. Furthermore, The Reflection has three basic aspects: the function of transmitting messages through music; the exploration of different functions of fifth; and the emphasis of meaning, sound effect and timbre.

APA, Harvard, Vancouver, ISO, and other styles

42

Yie, HyounKyoung. "Harmonic syntax in Delius's late period chamber music (1905-1930)." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1206316836.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Osborn, Nicholas Edward Martens. "Gray Sealed Chamber." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1585847974969558.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Chan, Werner Tien-Wei Chen Yi. "Farcry." Diss., UMK access, 2007.

Find full text

Abstract:

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
For flute, B♭ clarinet, trombone, violin, violoncello, percussion, and timpani. "A thesis in Music Composition." Typescript. Advisor: Chen Yi. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.

APA, Harvard, Vancouver, ISO, and other styles

45

Ward, Lisa-Jane. "Five and six-part chamber sonata in Germany, 1700-1760 /." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09MUM/09mumw259.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Kingsbury, Brett. "Master's Chamber Music Recital." Thesis, 2002. http://hdl.handle.net/2429/12826.

Full text

Abstract:

The thesis for the Master of Music degree in Piano Performance consists of one solo recital and one full-length ensemble recital. I performed the ensemble recital on April 28, 2002 and the solo recital on August 29, 2002.

APA, Harvard, Vancouver, ISO, and other styles

47

Henning, Ian D. Kubík Ladislav. "Diptych for chamber orchestra." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-04072007-153535/.

Full text

Abstract:

Thesis (D.M.A.) Florida State University, 2007.
Advisor: Ladislav Kubik, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). Document formatted into pages; contains 84 pages. Includes biographical sketch.

APA, Harvard, Vancouver, ISO, and other styles

48

Baker, Drew Timothy. ""Oculus" for chamber orchestra." Thesis, 2002. http://hdl.handle.net/1911/17491.

Full text

Abstract:

"Oculus" is comprised of a single movement for chamber orchestra. The title refers to the circular opening at the top of a domed structure such as the Pantheon in Rome. An oculus allows natural light to flow freely in and out of a dome. The expansion and contraction of light can dramatically alter the overall appearance and mood of a space. I attempted to create a musical atmosphere where the sound is expanding and contracting on a variety of levels. Fluctuation occurs initially through the use of orchestration. The stasis of the opening gives way to a more regular harmonic rhythm. The harmonies, rhythms, and timbres that define this work undergo constant manipulation. Expansion and contraction occur within the individual phrases as well as in the overall structure. While the materials are simple, the ever-changing texture provides definition and contrast. (Abstract shortened by UMI.)

APA, Harvard, Vancouver, ISO, and other styles

49

Miller, Philip. ""Invocatio" for chamber orchestra." Thesis, 2005. http://hdl.handle.net/1911/18849.

Full text

Abstract:

Invocatio is scored for the following instruments: piccolo, flute, 2 oboes, 2 clarinets (2nd doubling bass clarinet), 2 bassoons (2nd doubling contrabassoon), 2 horns, trumpet, 2 percussionists, piano (doubling celesta), and strings. The duration is ca. seven minutes. The material that forms the basis of the piece is exclusively derived from two pitch cell collections. These are based on the monograms of the composers Johann Sebastian Bach and Dmitri Shostakovich. The pitches come from the German musical spelling of the composers' surnames: B - A - C - H and D - Ess - C - H (equivalent to B-flat - A - C - B-natural and D - E-flat - C - B, respectively, in English music terminology). Invocatio may be regarded as consisting of two contrasting ideas, both presented already in mm. 1--5. This dual process evolves throughout the course of the work, and may also be described as a dynamic between "ightness" (mm. 1--3) and "darkness" (mm. 4--5). This process is ultimately resolved in the final section, beginning in m. 108. Transpositions are basically limited to the Shostakovich tetra-cell, while the original pitch class collection of the Bach is almost always retained. The primary transpositions of the Shostakovich are: A - B-flat - C - D-flat, F-sharp - G - A - B-flat, and C - D-flat - E-flat - E-natural . Both tetra-cells are closely related in their respective pitch class sets: [0,1,2,3] (Bach) and [0,1,3,4,] (Shostakovich), thus facilitating the juxtaposition and merging of the two tetra-cells. The Shostakovich cell, when transposed at the tritone, yields the octatonic scale. Fragments of the octatonic scale occur throughout the piece. A final synthesis of the two tetra-cells is attained at the very end of the piece: in the final two bars, both monograms are simultaneously presented, the Shostakovich cell now stated in its original pitch class form ( D - E-flat - C - B).

APA, Harvard, Vancouver, ISO, and other styles

50

Partain, Randolph L. ""Sigil" for chamber orchestra." Thesis, 2000. http://hdl.handle.net/1911/17369.

Full text

Abstract:

A sigil is a small symbol or rune believed to hold magical energy. In this instance, the "sigil" is a five-note motive, which emerges from repeating notes in the brass and oboe in the first few moments of the piece. This grouping of pitches not only becomes the building block for all of the melodic figures in the work, the harmonic components are derived almost exclusively from this motive as well. Utilizing this same basic material on many different levels throughout, the work also expresses a character of energetic and perpetually unfolding development of a musical idea. Throughout the piece, the motive occurs at varying speeds and intensities, until the climactic section in which all of the previous speeds occur simultaneously, with the brass interjecting chordal presentations of the motive.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Chamber music'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles