Dissertations / Theses: 'Composers'

1

Hultgren, Ralph Harold. "Why do I compose? An Autoethnographic Examination of a Composer's Compositional Process." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367247.

Full text

Abstract:

Why do I compose? is an autoethnographic examination of this composer's compositional process. It interrogates that process in an intimate and highly personal manner with an unashamed focus on the impact life events have had on him and his family. It unpacks not only the compositional outcomes but considers how the works then impacted upon others - conductors, performers and those who experience the work as audience members or listeners to recordings. The submission includes a substantial folio of original compositions that range from works for young musicians to professionals. Included are the compositions themselves, with sketches/ manuscript scores and published editions/ as well as1 where possible, audio and video recordings. A detailed synopsis of each work is given which includes data such as the type of ensemble/ the duration, the date of the composition/ the commissioner (if a commissioned work)1 as well as outlining the context for the creation of the work/ the premiere/ and publication. These synopses also link to specific responses to the work from others and1 at times/ personal reflections from the composer.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text

APA, Harvard, Vancouver, ISO, and other styles

2

Roast, Thomas R. "Composers of Norwich cathedral 1620-1819." Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302073.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Schröder, Gesine. "Mendelssohn - a model for young composers." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61678.

Full text

Abstract:

In der zweiten Hälfte des 19. Jahrhunderts spielte Mendelssohns Musik in Kompositionslehren noch eine keineswegs unbedeutende Rolle. Insbesondere in deren Abteilungen zur sogenannten freien Komposition, soweit sie Fragen der musikalischen Form und der Orchestration betrafen, wurde Mendelssohn oft zitiert. Vor allem in Salomon Jadassohns Kompositionslehre erlangte sein Werk Modellcharakter. Der Beitrag zeigt, wie dieser Lehrer am Leipziger Konservatorium im späten 19. Jahrhundert auf der einen Seite Mendelssohns musikalische und ästhetische Haltung fortwirken lassen wollte, wie er sich jedoch andererseits bereits vorsichtig von gewissen Aspekten des Mendelssohnschen Komponierens distanzierte. Aus um 1900 geschriebenen Lehren verschwindet Mendelssohns Name zusehends ebenso wie die Namen jüdischer oder französischer Komponisten wie Halévy oder Meyerbeer
In the second half of the 19th century Mendelssohn’s music played a prominent role in treatises upon composition. Especially the volumes on socalled „free composition“, including recommendations concernig musical forms, instrumentation and orchestration, often quote from his works. Mendelssohn claimed the figure of a model-composer. The paper concentrates on Mendelssohn as a model for young composers, as it was given by teachers at the Leipzig conservatoire. Treatises upon musical forms and instrumentation, written by Mendelssohn’s successors at the conservatoire show how the teachers on the one hand try to continue Mendelssohn’s compositional attitude and on the other hand try to part themselves from certain aspects of Mendelssohn’s music

APA, Harvard, Vancouver, ISO, and other styles

4

Capra, Carlos Augusto. "Music for clarinet by Argentinean composers /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Gregg, Thomas Andrew. "Song composers and their poetry choices : an analysis of the literary background and textual selections of twelve composers." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1241188637.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Tu, Chia-Fang. "Observation and Evaluation of Two Composer-Teachers of Pre-College Piano." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214246893.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Crossen-Richardson, Phyllis Jane. "Neglected cello repertoire of twentieth century English composers." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/1382.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Sandvik, Jan. "Examination concert : Interpreting music by three different composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.

Full text

Abstract:

This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.

Christoffer Pörn: Tre berättelser för piano

Johannes Brahms: Trio för piano, klarinett och cello op 114

Christoffer Pörn: Tre etyder för piano

Charles-Valentin Alkan: Symfoni för piano op 39

Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello

APA, Harvard, Vancouver, ISO, and other styles

9

Willison, Lemke Ann. "Singing Goethe’s Praises. Goethe Songs by Women Composers." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71966.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Curlette, William Bruce. "New music for unaccompanied clarinet by Soviet composers /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487693923198808.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Doherty, Brian James. "The French training of American composers, 1890-1914 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400361553.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Kwak, Sung-ok. "Selected variations by composers in Germany and France." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9715.

Full text

Abstract:

Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

APA, Harvard, Vancouver, ISO, and other styles

14

Lim, Yekyung. "Neglected cello repertoire of twentieth century English composers." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9027.

Full text

Abstract:

Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

APA, Harvard, Vancouver, ISO, and other styles

15

Choi, Bokyung. ""Restless Soul"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248419/.

Full text

Abstract:

Restless Soul is composed of observational and expository style to depict a culture of youth, strength, and passion. The film captures an improvising musician and composer named Garrett Wingfield, who expresses spontaneous sound reflected in his mind, body and spirit. By working with his music friends, he releases his creative energies through his compositions and his different types of saxophones. The documentary allows its audience to experience the youth culture in a postmodern world.

APA, Harvard, Vancouver, ISO, and other styles

16

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

17

Merrick, Linda. "Collaboration between composers and performers : recent British clarinet concertos." Thesis, Birmingham City University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Wiley, Christopher. "Re-writing composers' lives : critical historiography and musical biography." Thesis, Royal Holloway, University of London, 2008. http://digirep.rhul.ac.uk/items/51c986f5-ea02-d3b8-03e2-6ab2b962a61f/1/.

Full text

Abstract:

Recent musicological discourse, while frequently considering issues of historiography and canonicity, has seldom critically engaged with biography as a genre of documentary significance to reception history for its attempts to shape public opinion of its subjects. In consequence, modern musicology has often taken for granted many tendencies and preoccupations that accumulated in musical biography in the late nineteenth and early twentieth centuries. This thesis presents a historiographical examination of the precedents for and accretions of these assumptions, in terms of the role played by biography both in the establishment and maintenance of ideological canons and in the resultant ‘top-down' conception of music history as dominated by an elite handful of exalted composers. Exploration of the ways in which biographies constructed their subjects as ‘great' and ‘exemplary' – insofar as these concepts were idealized within the communities of readers for whom they were originally written – is conducted through two major studies of the published texts to c.1950 on canonical composers including J. S. Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Wagner, Brahms, and Tchaikovsky. The first investigates the elaboration and distortion of a set of some twenty-five of the most famous myths of musical biography, from their origins in late eighteenth- and early nineteenth-century Continental European texts to their fullest development (and, in many cases, their refutation) in English-language biographies up to the mid-twentieth century. In contrast, the second critically analyzes the twelve volumes of the original ‘Master Musicians' series (1899-1906) as exemplars of the biographical and musical paradigms of composer life-writing, and as late Victorian period pieces of significance to canon formation for their conception as a closed set of monographs of historically-important subjects appropriated to English ends. The conclusion provides a preliminary assessment of the implications to modern musicology of the findings of this thesis through re-evaluation of elements of recent biographical and hermeneutical scholarship, and proposes that the discipline might usefully adopt a more inclusive, self-reflexive approach to the study of musical biography in the future.

APA, Harvard, Vancouver, ISO, and other styles

19

Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.

Full text

Abstract:

Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.

APA, Harvard, Vancouver, ISO, and other styles

20

Fuller, Sophie. "Women composers during the British musical renaissance, 1880-1918." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.263601.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Morgan, Craig Ashley. "The Use of Virtual Instruments by Australian Screen Composers." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14884.

Full text

Abstract:

Recent technological advancements, strong competition and targeted marketing strategies by virtual instrument merchants have established virtual instruments and digital instrument samples as essential components of a professional screen composer's toolset. The democratisation of these powerful tools has led to broad accessibility to virtual instruments and the digital sequencing software required to run them. Virtual instruments are portable, powerful, and affordable––they are no longer the exclusive domain of expensive recording studios. This thesis aims to quantify and qualify the parameters surrounding screen music composition in this digital age and introduce to the literature new empirical data together with the experiences of working screen music professionals. This is achieved by following a mixed methods sequential exploratory methodology starting with a survey of Australian screen composers (n=102) where they are asked to answer questions with a recent cue in mind. Informed by the results of the survey, semistructured interviews were conducted and recorded with working Australian screen composers (n=22). When combined the meta-inferences confirm that virtual instruments are vital for Australian screen composers to do their job, especially now that their tools are democratised. Screen composers are able to swiftly create cues that are finished products and not demos for their director and film-team. These changes have also shaped a new paradigm of film and television directors to expect final and completed versions of cues from Australian screen composers and not working drafts.

APA, Harvard, Vancouver, ISO, and other styles

22

Rothenberg, Florie. "Music for clarinet and string quartet by women composers." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

Full text

Abstract:

This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.

APA, Harvard, Vancouver, ISO, and other styles

23

Martens, Hester Susanna. "String quartets by South African composers : a comprehensive catalogue and annotated discussion of works composed between 1940 and 2016." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65579.

Full text

Abstract:

The projected outcome of this mixed methods research document is the compilation of a catalogue of South African string quartets, composed between 1940 and 2016. The main motivation for the choice of topic is the author’s aspiration to create a document containing basic information, as well as performance notes, where possible, regarding as many quartets, composed within this time frame, as could be found. Every effort has been made to create a document that is as comprehensive as possible, containing specific information regarding the works discussed. Works by more than 75 composers are listed in alphabetical order according to the composer’s surname. Each composer’s works are listed chronologically according to date of composition. Although this document lists more than 180 works for string quartet, as well as a few significant works for string quartet with one or two other voices, this document should not be regarded as fully comprehensive. Each catalogue inscription consists of the name, birth year and birth place of the composer; country of residence, if not in South Africa; publishing details of the composer, where applicable; contact details of the composer; title of work and year of composition; dedicatee and commission, where applicable; approximate duration; titles of movements; details of first performance; details of recordings; notes (annotations). The catalogue is preceded by a succinct historic overview of the development of the string quartet as a medium, as well as a timeline of composers of string quartets in South Africa. A short chapter explaining the annotation process is included. The research document concludes with suggestions for further investigation.
Thesis (DMus)--University of Pretoria, 2017.
Music
DMus
Unrestricted

APA, Harvard, Vancouver, ISO, and other styles

24

Yu, Julie. "Alberto Grau the composer, selected works, and influence upon the Venezuelan and international choral community /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3898.

Full text

Abstract:

Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Nov. 17, 2005, Apr. 2, 2006, and May 14, 2006. Includes bibliographical references (p. 51-53).

APA, Harvard, Vancouver, ISO, and other styles

25

Wagner, Karin. "Fremd bin ich ausgezogen Eric Zeisl : Biografie /." Wien : Czernin, 2005. http://catalog.hathitrust.org/api/volumes/oclc/62900746.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Thompson, Brian. "Calixa Lavallée (1842-1891) : a critical biography /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22359680.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Lee, Hyun Min. "French art songs for high voice by famous opera composers." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3198.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Grases, Cristian. "Nine Venezuelan Composers and a Catalogue of their Choral Works." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/215.

Full text

Abstract:

This document represents an initial endeavor in a long-lasting aspiration to pursue the study and collection of Latin American choral literature. This essay compiles the most complete and current catalogue possible of choral works written by nine Venezuelan composers born in the twentieth century and presents it in a simple and accessible format so it can be used by a variety of school teachers, choral conductors, church musicians, college directors, and professional musicians. Each composer entry presents a brief biographical note and a list of works organized in alphabetical order. The annotation for each composition includes information in eighteen categories. It also includes an extensive list of biographical resources. In addition, a list of terms and definitions of folkloric and traditional genres will help the reader understand the diversity of Venezuelan musical styles and dances; there is some additional information with regard to performance practice.

APA, Harvard, Vancouver, ISO, and other styles

29

Powell, Jonathan Anthony. "After Scriabin : six composers and the development of Russian music." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251478.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Choi, Min-Kyung. "Distinctive pianism in selected works of twentieth-century Russian composers." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3076.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Brunson, Kerry. "Mass classical| America, accessibility, and the Atlanta school of composers." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10137432.

Full text

Abstract:

When Robert Spano joined the Atlanta Symphony Orchestra as music director in 2001, he brought with him a mission to change the soundscape of the American concert hall. His goal, to gradually change the public’s perception of new music by introducing accessible works of lesser-known living American composers, led to sustained partnerships with the composers that came to be known as the Atlanta School. In this project I trace the formation of the Atlanta Symphony Orchestra up to Spano’s appointment as Music Director. I then examine Spano’s model for commissioning new works as both an effective means of disseminating new music and an attempt to “plug into” the standard repertoire. Finally, I explore the notion of “accessibility” as it emerged in the nineteenth century to distinguish between classes of music and to show how the term is wielded in much the same way today to keep modernist ideologies in control of the canon.

APA, Harvard, Vancouver, ISO, and other styles

32

Keith, Mathieu. "Collaboration in Opera Composition : Writing an opera with three composers." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79129.

Full text

Abstract:

Music is full of collaboration, between composers and musicians, musicians with each other, or composers with directors, to name a few. Not as commonly found are collaborations between multiple composers. Some works, such as Hexameron, (Liszt, 1839) were written as variations on a theme by several composers, but even rarer are single works written collaboratively by multiple composers. How would one set out to create a work with multiple composers? Can a group of composers collaborate to create a single, unified vision with a similar voice? What obstacles would arise from such a project? This thesis sets to answer these questions and more, and details the process in which myself and two composers created an operetta in three acts. We will walk through every step of our journey, from the first meeting to the writing process to the final product and concert. The aim of this thesis is to explore how a collaboration of composers can work, the problems that may arise and how to potentially avoid them. If these aims are achieved, this thesis may serve as guidelines for other composers wishing to collaborate on similar projects.

APA, Harvard, Vancouver, ISO, and other styles

33

Lunn, Robert Allan. "Extended Techniques for the Classical Guitar: A Guide for Composers." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274474311.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

CHOI, YOUNG JU. "SURVEY OF CHORAL MUSIC BY SELECTED TWENTIETH-CENTURY KOREAN COMPOSERS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116369655.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Ellsworth, Jane Elizabeth. "Clarinet Music by British Composers, 1800-1914: A Repertorial Survey." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392140520.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Soderberg, Karen Amelia Phillips. "A survey of selected contemporary Swedish choral composers and literature." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185410.

Full text

Abstract:

This study presents a survey of selected Contemporary Swedish Choral Composers and Literature representative of the trends in contemporary Swedish choral music. The varied compositional styles and techniques of composers Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Andres Hillborg exemplify these trends. Little information is readily available about the current generation of choral composers outside of Sweden. Most of the available materials concentrate on the music of composers of the 1940s Monday Group such as Sven-Erik Back and Ingvar Lidholm and Karl-Birger Blomdahl, the works of Gunnar Bucht of the 1950s who reacted against modernism, the 1960s avant-garde styles of Bengt Hambraeus, Sigfriend Naumann, Arne Mellnas and Folke Rabe. This survey discusses the life, career and musical styles of each of the composers and analysis of an a cappella work illustrative of their musical styles. Fundamental to the growth and musical development of the representative composers is an examination of the historical background, foundation and tradition of choral singing in Sweden. The select bibliography, list of works by the composers, catalogs of choral music, list of institutions and organizations, and publishers, is intended to serve as a reference guide.

APA, Harvard, Vancouver, ISO, and other styles

37

Goh, Talisha. "Re-Composing Feminism: Australian women composers in the new millennium." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2194.

Full text

Abstract:

In the age of postfeminism and fourth-wave feminism online, Australian women composers are theoretically able to “have it all,” however, the proportion of women in the occupation appears to have plateaued in recent years. In this thesis, I explore the multiple ways in which gender and feminism interact with practising Australian women composers. Feminist musicology has had a large impact on the Australian musicological scene, with theorists such as McClary and Macarthur bringing the subject of women in music to the fore in the 1990s, aiding efforts to advocate for reform on behalf of women composers. Additionally, third-wave feminist scholars such as Hartsock have argued for the study of women’s experiences within maledominated disciplines such as musicology. Using feminist standpoint theory as a foundation, this thesis examines the experiences of practising Australian women composers, finding multi-faceted and contradictory views of feminism and gender. A principal case study of composer Kate Moore examines how gender has shaped her career trajectory. Finally, a neo-Riemannian analysis of Moore’s work, Violins and Skeletons (2010), illustrates how gender may shape compositional strategies, speculating upon the fraught relationship women composers have with the conventions of Western art music because their work implicitly functions outside of, or against, the canon. This research highlights the importance of studying minority experiences in musicology, and how they relate to the dominant aesthetic and intellectual traditions.

APA, Harvard, Vancouver, ISO, and other styles

38

Heighes, Simon John. "The life and works of William and Philip Hayes (1708-77 & 1738-97)." Thesis, University of Oxford, 1990. https://ora.ox.ac.uk/objects/uuid:81d30fca-5545-429d-b79a-7253b8e1d828.

Full text

Abstract:

William and Philip Hayes, father and son, between them occupied the Heather Chair of Music at Oxford for over half a century (1741-97). They were two of the most important provincial musicians of their age, who as composers contributed to all the main genres of the time except opera. The Hayeses' musical style reflects both a reverence for Handel (particularly in their choral works) and also an awareness of the insurgent galant idiom (clearly apparent in their sonatas). William Hayes was also active as a writer on music, publishing three substantial pamphlets between 1751 and 1768. He is perhaps best remembered today for his Remarks on Mr. Avison's Essay on Musical Expression (1753), in which he not only championed Handel against the apparent attacks of Avison, but also outlined his own musical aesthetic. The Hayeses were both ardent Handelians, and William was probably the single most active conductor of Handel's oratorios and choral works outside London during the composer's lifetime. Father and son were also important and knowledgeable collectors and copyists whose activities are well documented and whose unusually catholic tastes may be gathered from the surviving sale catalogue of their library. The fortunate survival of most of their autograph scores and many complete sets of performing parts considerably increases our knowledge of eighteenth-century performance practice. Their wide-ranging activities in all these fields are considered in two biographical chapters and six appendices. The thesis includes a complete descriptive catalogue of their works (with music incipits for instrumental items), and provides detailed consideration of their achievements in five major areas: sacred vocal music; cantatas, songs and convivial vocal music; concerti grossi and keyboard concertos; trio and accompanied sonatas; and large-scale vocal works (oratorios, odes and masques).

APA, Harvard, Vancouver, ISO, and other styles

39

Holland, Elizabeth Jane Violet. "Purcell and the seventeenth-century voice : an investigation of singers and voice types in Henry Purcell's vocal music." Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/5988/.

Full text

Abstract:

This thesis uses the study of Henry Purcell"s vocal music to establish the vocal characteristics of the singers and voice types for whom the composer wrote in London in the seventeenth century. This process is begun in the first chapter by discussing 'The Counter-Tenor Debate' in order to establish the method(s) of vocal production used by Purcell's counter-tenors. This in turn addresses the issue of whether the counter-tenor was a completely different voice type from the tenor, or if they were simply high and low subdivisions of the same voice type. Chapter Two discusses the bass voice, in particular the influence of individual singers in creating voice-type subdivisions, and the dramatic and musical stereotyping of this voice type in Purcell's works. The third chapter takes as its subject Purcell's sopranos and trebles, focussing in detail on the individual singers in his works for the London stage, their vocal characteristics, dramatic stereotyping, and musical influence on the composer. Chapter Four uses the characteristics of each voice type identified in previous chapters to reassign the 'lost" voice types of Purcell's chamber songs and, in conjunction with research into actresses, literature and theatrical convention of the period, provides a first performance voice-type cast list for the opera Dido and Aeneas, as well as offering insight into the possible individuals for whom the work may have been intended. Finally, all the above information gathered is combined with knowledge of seventeenth-century singing techniques gleaned from contemporary sources and the work of modem day scholars to offer advice on the modem performance of Purcell's vocal works in a 'historically- informed' manner.

APA, Harvard, Vancouver, ISO, and other styles

40

Hung, Yu-Hsien Judy. "The Violin Sonata of Amy Beach /." [Baton Rouge, La. : Louisiana State University, 2005. http://etd.lsu.edu/docs/available/etd-04142005-224115/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Rediger, JoAnn Kinghorn. "Videotaped interviews with Emma Lou Diemer : her compositional and personal perspectives." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/933457.

Full text

Abstract:

This study was designed to portray some of the personal attributes of Emma Lou Diemer, a contemporary composer, and to describe her compositional processes and products through videotaped interviews. Over a two year period and during five days of interviews and discussion, Dr. Diemer and this writer developed a rapport allowing the composer to reveal insights into her attitudes about music composition and her methods and techniques for composing. The writer then prepared and edited the videotaped interviews specifically for the following purposes:1. to provide insight into Emma Lou Diemer's philosophy of music composition2. to offer first-hand commentary on two of her own compositions3. to give composers and conductors insight, in Dr. Diemer's own words, into her compositional processes.The two videotapes central to this study provide visual records of the discussions of the composer at work, thereby allowing viewers access to her original comments, facial expressions, conversational nuances, and humor. The tapes show Dr. Diemer's energy, vitality, and sense of purpose as she continues to seek creative channels within her chosen field of composition.The videotapes are supported by a written document containing background information, related literature, and a biography of Emma Lou Diemer. Chapter four contains the narratives of the videotaped interviews and a discussion of two of Diemer's compositions, "There is a Mom Unseen" and "To Come So." The final chapter includes a summary and recommendations for further research.The writer recommends the use of videotape for recording interviews with contemporary composers; this medium was an effective tool for this study. Suggested procedures include: the recording of a composer's perspectives on interpretations of his/her compositions, recording of composing techniques, videotaping of the composer as performer or conductor, and videotaping of related performances of a composer's works by selected individuals and groups.Suggested audiences for the videotapes prepared for this study are: 1. university composition classes;2. conductors preparing to present compositions by Emma Lou Diemer in concert;3. high school groups looking at composition as a career;4. individuals who wish to study Dr. Diemer's compositional processes and style.
School of Music

APA, Harvard, Vancouver, ISO, and other styles

42

Rakena, Te Oti. "The synthesis of Polynesian and western traditions in contemporary New Zealand composers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Armendarez, Christina Marie. "The influence of Fredrik Melius Christiansen on six Minnesota conductor-composers." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/armendarez%5Fchristina%5Fmarie/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Fallowfield, Ellen. "Cello map : a handbook of Cello technique for performers and composers." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/960/.

Full text

Abstract:

Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. The ‘map’ of the title is meant in the scientific sense of the word; connections are made between: ‘actions that a cellist makes’ and ‘sounds that a cello can produce’. In some cases, where existing scientific theory is insufficient to back up these connections, original empirical research has been undertaken and areas for further research have been suggested. Within this system there are no special effects, rather a continuum of actions with a clear relationship to sound.

APA, Harvard, Vancouver, ISO, and other styles

45

Marshall, Louise Catherine Antonia. "Deep listening : the strategic practice of female experimental composers post 1945." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13477/.

Full text

Abstract:

New developments in music technology, alongside a more porous understanding of the nature of sound and its performance, have opened experimental and contemporary music to many new expressions since 1945. It might therefore be expected that the revolutionary compositional ingenuity demonstrated by many of female composers shaping this new transmission of music-making would by now be carefully documented in the historiography. Yet this has not been the case, and their absence is symptomatic of a still active antipathy to women entering and participating in professional and artistic arenas that remain structured in gender terms. Taking my title from Pauline Oliveros’s practice of Deep Listening, my research analyses the compositional strategies of an indicative group of five female composers, with the intention of redressing this knowledge gap. I do this from a practice base, in which interviews with Éliane Radigue, Oliveros, Annea Lockwood, Joan La Barbara and Ellen Fullman are analysed through a methodology built from the intersections between psychoanalysis, oral history, and sound studies. From this, I propose the concept of the sonic artefact that results from the methodologically-focused encounter between researcher and narrator. Analysis of the communicative space within which the sonic artefact operates offers, I argue, a new methodology for gleaning ontological meaning from the sonic utterance of speech. This is extended to researchers as a method in which to theorise and to achieve a ‘deeper listening’ that attends to the historical depth of who is making sound and how they might be better heard. The audio interviews made during my research and additional documents share a focus with the Her Noise Archive at the University of the Arts London’s Special Archives and will be lodged there.

APA, Harvard, Vancouver, ISO, and other styles

46

Langrock, Klaus. "Entwicklung eines Internetportals »German Baroque Composers«. Zielsetzung und erste praktische Erfahrungen." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71941.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Ohki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

Full text

Abstract:

When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

APA, Harvard, Vancouver, ISO, and other styles

48

Stambler, David B. "Selected solo music for saxophone by United States composers, 1975-2005." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9711.

Full text

Abstract:

Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

APA, Harvard, Vancouver, ISO, and other styles

49

Taliani, Alexandra R. "An Annotated Catalog of the Music of Eusebia Simpson Hunkins in the Music and Dance Library Special Collections Room and the Mahn Center for Archives and Special Collections of Ohio University." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1587141633610687.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Siegfried, Abbey Hallberg. "Contemporary American organ music : defining the compositional potential of the pipe organ in conversations with composers /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11366.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Composers'

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