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Mulvey, Grainne. "Composition portfolio : ten compositions and commentaries." Thesis, University of York, 1998. http://etheses.whiterose.ac.uk/10860/.
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Todd, Benedict Francis de Pomeroy. "Portfolio of compositions and composition commentary." Thesis, University of Bristol, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730838.
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Beiert, Michael. "Portfolio of compositions, with accompanying composition commentary." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2042979/.
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The following chapters describe compositional methods applied to the compositions of the portfolio (Volume I), which consists of eight works for instruments and electronic sound, as well as one purely electronic piece. The main concern in all these works is aspects of open form and, to a lesser extent, indeterminacy during performance. I highlight the research I have undertaken in preparation for each of the compositions, show how all of these pieces are progressively linked by my evolving interest in open form, and place them in context with works by other composers, past and present, who have employed similar, or different, experimental procedures. Volume II, the composition commentary, includes a technical appendix, explaining the different software processes for the individual works, and a recourses appendix containing recordings of all of the nine compositions, as well as all of the Max patches, Max for Live devices and sound files I have programmed and created for the electronic parts of the pieces.
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Foster, Simon. "A compositional semantic theory for service composition." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/1723/.
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Service Composition refers to a popular modern software paradigm for building applications by combining distributed reactive components using the World-Wide-Web as the medium. The approach is characterised by the use of standardised protocols, languages and representations such as XML, which ensures that services are platform agnostic. Whilst the architecture is well understood for simple single-interaction services built in the style of classical procedures from the traditional programming paradigm, much discussion is still taking place with regard to more complicated, fully reactive services, where the consumer interacts in a stateful manner. The aim of this Thesis is to investigate the way in which composite Web services are built, and provide a useful semantic theory for service composition. Inspiration for this comes from several sources, including existing technologies such as WS-BPEL and WSMO, and the workflow patterns research, which defines a diverse collection of control-flow patterns which should be provided by a service composition language. My approach to service composition is based on Abstract Timed Process Calculus. Core to this approach is compositionality – a Web service model must be semantically decomposable to allow component manipulation. An Abstract Timed Process Calculus allows elegant modelling of component systems through a variety of synchronisation patterns such as isochronic broadcast. In this work I will seek to advance this area by constructing a novel timed process calculus which seeks to surpass previous calculi. This calculus will form the underlying meta-model for a semantic theory for a service composition language called Cashew-A. The semantic theory will be useful for both verification and execution of composite Web services.
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Mancero, Baquerizo Daniel. "Composition musicale et modélisation de l'espace hétérophonique des Soundscape Compositions." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080041.
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Ce mémoire de thèse traite de l’analyse musicale et de la formalisation desévénements sonores qui structurent le paysage sonore. À cette fin, ce travail s’articule endeux axes complémentaires : d’une part, il constitue une évaluation des enjeux théoriqueset esthétiques au sein de l’écologie acoustico-sonore, d’un point de vue poïétique — centrésur la conception d’oeuvres musicales fondées sur le paysage sonore ou soundscapecompositions ; cela suppose de prendre en compte non seulement les préceptes théoriquesqui font de l’écologie sonore une discipline artistique à part entière, mais égalementl’ensemble de critères acoustico-sonores susceptibles de définir les limites de cette formede création sonore. D’autre part, ce travail propose une méthodologie dialogique derecherche/création permettant de recenser, de décrire et de modéliser la fonctionnalitémusicale ayant lieu au sein du répertoire des compositions fondées sur le paysage sonore,tout en favorisant le déploiement d’autres techniques de composition musicale de caractèreplutôt syntaxique. Bien que le paysage sonore soit largement reconnu comme faisant appel au mimétisme del’environnement sonore — excluant ainsi toute construction autonome d’un systèmesyntaxique d’écriture musicale stricto-sensu, force est de constater que, au fur et à mesurede l’évolution de formes de création fondées sur le paysage sonore, les artistes sonores ontgraduellement mis au point une procédure de manipulation électroacoustique quirenouvelle la notion-même de paysage sonore, passant du field-recording — où le paysagen’est que le résultat immédiat de l’enregistrement —, à des processus de compositionmusicale assez complexes, où le paysage sonore s’avère être un contexte d’organisationmusicale de matériaux sonores très spécifiques. Dans ce contexte, ce travail ouvre à unprogramme de recherches autour de nouvelles perspectives de création musicale et derecherche musicologique, axées notamment sur le développement d’outils informatiquesd’analyse acoustico-sonore et sur la mise en place de méthodologies de recherche/créationvisant à comprendre les déterminants de la composition musicale fondée sur le paysagesonoreThis work of thesis deals with the musical analysis and modelling of the particular sound events that structure and shape soundscapes. To this end, this work is organized around two complementary approaches: first, it seeks to assess the aesthetic and conceptual implications of acoustic ecology from a poietic perspective. This implies taking into account not only the theoretical principles underlying acoustic ecology, but also a set of criteria characterizing ways of listening from a phenomenological point of view. Secondly, this work introduces a specific dialogical methodology for identifying, describing and modelling the musical functionality of soundscape compositions, while fostering the deployment of other (rather syntactic) compositional techniques. Despite its wide acceptance as a mimetic approach to reconstitute soundscapes through field-recordings, one cannot fail to observe that, over the evolution of the repertoire of soundscape compositions, composers and acoustic designers have developed various compositional strategies that enable them to undertake larger and more sophisticated musical outlets. In this context, this work opens up new perspectives on music composition and musicological research: it is centered around the development of acoustical/musical analysis computer tools, as well as of methodologies supporting a dialogical process towards research and creation for better knowing about musical soundscape composition.On that basis, this work intends to contribute with a set of methodological and computational tools that will enable musicologists and composers to classify and represent the heterophonic field that characterizes the soundscape
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Hoadley, Richard. "Composition." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/9281/.
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This portfolio contains a series of compositions written over the period 1987-93. Each was written for a specific competition, event or concert. Details of each individual piece can be found within the volume of commentaries included.
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Abbott, Paul John. "Composition." Thesis, University of York, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547331.
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Kontz, Catherine Daisy Renee. "Composition." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498246.
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Bowman, Edward Stuart Timothy. "Composition." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499114.
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McKay, D. T. "Composition." Thesis, Queen's University Belfast, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273087.
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Stringer, John. "Composition." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387767.
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Blain, Martin Andrew. "Composition." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338558.
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Roddie, Matthew. "Composition." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323691.
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Stimpson, Michael. "Composition." Thesis, University of Southampton, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284571.
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Markham, Karen. "Musical composition." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/2018/.
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Downie, Kenneth Frederick. "Composition portfolio." Thesis, University of Salford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491037.
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My composition portfolio consists of the following four works for brass band: Purcell Variations was published in 1995 and was written to mark the tercentenary of the death of Henry Purcell. ... Rejoice, the Lord is King! was commissioned by the International Staff Band for a Gala Concert at the Royal Albert Hall in London ... St. Magnus was commissioned by the European Brass Band Union as their test piece at the Championships held at the Royal Concert Hall in Glasgow, April 2004 ... The Promised Land - Symphonic Variants for Brass and Percussion was commissioned jointly by SP&S Ltd and the "Buy as you View Band" for use at the European Brass Band Championships to be held in Belfast in April 2006.
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Luengen, Ramona Maria. "Composition recital." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/25694.
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Steenhuisen, Paul Brendan Allister. "Composition recital." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28875.
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The thesis is a concert of seven original musical compositions presented in the Recital Hall of the U.B.C. School of Music on February 18, 1990.
NON TI RICORDl
NON TI RICORDl was written for a sextet of clarinet, two percussionists, piano, violin, and cello, and is an exploration of the vast timbral possibilities of this heterogenous ensemble. In visual arts, colours are mixed, juxtaposed, and isolated; similarly, in NON TI RICORDl the timbres of the individual instruments and combinations of instruments are used to emphasize the form and highlight important points in the piece. The title, which means "I don't remember you", is taken from a painting by Francesco Clemente. The painting contains the bust of a man who, from the chin up, is transformed into a mountain. In keeping with the metamorphosis in the painting, the motive of NON TI RICORDl is stated virtually unchanged throughout the first six minutes of the piece (despite the continuous rhythmic and timbral development), after which it is gradually transformed, until no longer recognizable, in the concluding two minutes.
STIPE
STIPE means tree trunk, and is my representation of the strength and density of construction that is seen when examining the trunk of a healthy tree. The short chords which punctuate the silence of the opening form a harmonic cycle in which the intervals of the chords expand outward, much like the age-rings of a tree. Each successive section of the piece is a cyclic, ordered progression through one of the harmonies stated in the introduction. On a more local level, an important element of the work is gestural similarity -a quick flourish at the outset is the basis of all subsequent melodic material, often developed through registral expansion. STIPE won first prize in the 1989 Vancouver New Music Society Competition for Young Composers, and was premiered on their concert "WORKS- RECENT DISCOVERIES".
WIRE
Manipulations of natural sound sources form the majority of the material for this electroacoustic composition. Breaking glass, squeaking bicycle brakes, fireworks, wooden blocks, and rain are just a few of the sounds that were transformed by altering their length, pitch, volume, and envelope. Multiple layers of these timbres were combined with sounds generated on synthesizers to create an exciting and colourful sound world. With its use of both analog and digital synthesizers, musique concrete techniques, digital sampling, and sound sculpting, WIRE can be seen as an overview of many of the techniques utilized in electroacoustic music since its origin in France in the 1940's. This eleven-minute work was composed in the University of British Columbia's Electroacoustic Music Studio.
TWO RIVERS
The initial inspiration for this seven-minute piece for chamber choir was the choral music of my former composition teacher, Dr. Stephen Chatman. The piece begins in the conservative tonal language found in much of his choral music, but through the addition of clashing tones, becomes non-tonal. Throughout the work one can hear a smooth movement between these seemingly disparate approaches, and at times the traditional textures coexists
with the more chaotic textures. Overall, however, there is a gradual transformation from a clearly contrapuntal area to one of aleatoric sound blocks. TWO RIVERS won first prize in the choral category of the 1989 Performing Rights Organization of Canada's Competition for Young Composers.
AMARANTH
This four-movement work for solo cello is the longest piece on the program, lasting sixteen minutes. Each movement concentrates on a different form of the pitch-motive and explores one of the many extended techniques possible on the instrument, such as multiple-stops, pizzicato, sul ponticello, and col legno. The title refers to an imaginary flower that never fades away. This idea is represented in the music by the frequent reference to the primary melodic motive. As well, each movement (Ka, Golden Wave, Elatum, and Nova) is named after a flower which blooms in one season. The complete cycle represents one year of continuous presence and growth.
DEEP MOUNTAIN
DEEP MOUNTAIN is a twelve-minute electroacoustic work, and is the result of my study of computer applications to music with Dr. Keith Hamel. One of the topics covered was sound synthesis, more specifically the generation of complex sounds from a personal computer. Procedures for the synthesis of these sounds were written in the Object Logo programming language. After being generated, the sounds were then transferred digitally to a sampler, after which I began composing the piece. Using multi-track recording equipment, synthesized sounds from a Macintosh computer, and a number of environmental sounds, DEEP MOUNTAIN was composed in the Electroacoustic Music Studio at the University of British Columbia. It was a selected work in the 17th International Electroacoustic Music Competition in Bourges, France.
THRESHOLDS
When composing THRESHOLDS (written for two horns, four trumpets, two trombones, bass trombone, tuba, and two pianos), two compositional elements were at the forefront of my technical concerns. The first was to approach the work from a cinematic standpoint- the pitches would be organized in a recognizable, coherent manner, yet the textures and moods would change quite rapidly, much like the quick cuts and changes of scene one finds in films. The other important factor in this work was my desire to control strictly the emphasis which was to be placed on certain notes- even though there would be a high number of pitches present throughout most of the piece, the function of each pitch would be clearly defined. With such a powerful ensemble, doubling two or more instruments on a single pitch or rhythm can very subtly draw attention to one line, placing others in the background and thus creating a hierarchy within the ensemble. The aural result is seven minutes of multi-levelled, harmonically rich and dynamic music which enables the ensemble to display its virtuosity.Arts, Faculty of
Music, School of
Accompanied by : 1 sound cassette
Graduate
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George, Linda Margaret. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/41669.
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Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.
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This is a compilation of the music performed at the graduation recital of John
Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were
four pieces performed that afternoon including Azimuth for viola, clarinet and
marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a
Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of
Thomas Gray. Moments is a set of three pieces for woodwind quintet written in
1990. Viola Concerto is in three movements and was written in 1991 for Reg
Quiring, a former U.B.C. student. The concerto is scored for solo viola and
chamber orchestra. A cassette copy of the recital is available with this book.Arts, Faculty of
Music, School of
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Otter, Franner. "Composition portfolio." Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26848/.
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This submission takes the form of six original musical compositions along with critical analyses. (NB in accordance with convention all references to notes and examples within the text are given in concert pitch.) The first composition, 'Lonely Isle' is written for brass band and is one movement with two contrasting sections. The music is broadly tonal throughout and the key signatures of B b major and then C minor are employed for the two sections. 'Fantasy No. 1 for Trombone' is written for solo trombone with piano accompaniment. This was written with for Brett Baker as a potential repertoire piece. The piece has one movement with three contrasting sections. The first, Allegro Scherzando, uses Lydian mode, then Andante in Dm and finally Vivace in C minor. 'At The Gates To Oblivion'was inspired by a series of role-playing video games for PC and X Box called 'The Elder Scrolls', most specifically by the game 'The Elder Scrolls IV: Oblivion' (Bethesda Softworks, 2006). It was originally written for brass band and was later transcribed for wind band. It is in an open key and has three movements. 'Falling Red Leaves of Autumn' is a three-movement piece for euphonium, vibraphone and piano. The titles of the three movements together form a haiku and the piece is composed using pentatonic scales, the first two movements major, and the third minor.'The Sun God, Ra\ is composed for brass band and is also in one freeform movement. It is a piece of programme music inspired by ancient Egyptian mythology. Village Green Dances' is written with the idea of a brass band playing at a traditional fete or country setting and takes as it's starting point the kind of music typically performed at such events. It is written for brass band and is a suite of three pieces, an opening fanfare, a lyrical waltz and a slightly confused march. The sound files for each of these pieces can be found at the following locations: Lonely Isle http://dl.dropbox.eom/u/25045136/LI.mp3 Fantasy No.1 for Trombone http://dl.dropbox.eom/u/25045136/TROMB.mp3 At the Gates to Oblivion http://dl.dropbox.eom/u/25045136/OBLIV.mp3 Falling Red Leaves of Autumn http://dl.dropbox.eom/u/25045136/FRL.mp3 The Sun God, Ra http://dl.dropbox.eom/u/25045136/Ra.mp3 Village Green Dances No.1 http://dl.dropbox.eom/u/25045136A/G1.mp3 No.2 http://dl.dropbox.eom/u/25045136A/G2.mp3 No.3 http://dl.dropbox.eom/u/25045136A/G3.mp3
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Mayall, Jeremy Mark. "Composition Portfolio." The University of Waikato, 2006. http://hdl.handle.net/10289/2398.
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The works in this portfolio of original compositions cover a wide spectrum of genres, styles, approaches, and musical techniques. The aim was to demonstrate mastery of the various musical languages and techniques characteristic of each genre. The calculatedly low-fi 'alt.rock meets computer games' approach of the concept album They No Longer Sleep Alone is of folk-like simplicity, deliberately eschewing the various polishing processes available to producers now in the digital mastering situation. The intention was to preserve a naturalness of sound and song making. On the other hand, live electronic effects are utilized to expand the sonorities and textures obtained from a solo bassoon in The Effect of Bundled Sticks on Sounds. Today is the Tomorrow takes this idea further, being a completely electronic work mixing live musical performance (turntables) with pre-recorded sounds, these interacting with live video and prepared animation. De Feo, inspired by graffiti artists, was written for a virtuoso pair of performers in the unusual combination of alto saxophone and viola, with no electronics being required. The Big Fat Jazz Bastard Theme Song and Espacio were written for particular performers and approaches to music making, while Saturday Afternoon and Late Night Specials are film scores. Swamp Treasures and Bungamucka - the Alarmist were commissioned for theatrical productions and thus were designed to fulfil specific functions determined by the stage directors. By way of contrast, ...seconds unwind...generated noise...racecar... is an abstract work that utilizes the sophistication and subtleties of timbre, rhythm and texture available from a professional chamber orchestra.
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Johnson, Katie Andrea Elizabeth. "Composition Portfolio." The University of Waikato, 2009. http://hdl.handle.net/10289/2780.
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I have enjoyed this year, writing pieces that are special to me because they relate to experiences during 2008. I've written for orchestra, choir and an ensemble of xylophones and saxophone. Each piece has extended my skills and creativity in different ways from previous compositions. Prelude to the Unspoken This work is for symphony orchestra. Last year, it was rehearsed and recorded by the NZSO as part of the NZSO/Todd Young Composers Awards 2008. The pieces were recorded in the Michael Fowler Centre and conducted by Hamish McKeich. It was exciting to hear the piece come alive and watch the orchestra rehearse. Now I have heard the recording in a calmer state and know what it actually sounds like, I have been able to evaluate some decisions and whether or not they worked. As long as I have played instruments, I have played in orchestras. I can draw on these experiences when composing because as a clarinettist, you sit in the middle of the orchestra, and can hear the different sections playing and how their parts/notes relate to the rest of the orchestra. As a percussionist, hearing the orchestra from the back (when counting rests!) also reveals a different point of view. This year I chose to compose a slower, more contemplative piece. Last year, my compositions were dense and busy, so writing this piece required me to use space and texture in new ways. The title Prelude to the Unspoken alludes to something being stated but stopping before anything is revealed. A Schulwerk Orffering I was inspired to compose for the forces used in this piece because of an Orff- Schulwerk teacher training course I attended in 2008. As part of the Masters of Music degree, I completed a Level 1 workshop and on-line component - Orff Music Education-Theory and Practice 1, and more recently, completed the Level 2 workshop. Orff-Schulwerk education is a holistic, hands-on approach that explores music physically and through different instruments such as body percussion and approachable instruments (for children) such as recorders, mallet instruments and small percussion. One activity during the course was playing a tune from the Orff-Schulwerk volumes, where everyone was playing a mallet instrument - xylophone, marimba, glockenspiel, from soprano to bass, while the teacher improvised a tune on the recorder, over the top of this moving carpet of sound we were making with our ostinatos and drones. This was just like being in the middle of the orchestra. While playing my ostinato, I was in the centre of all of this sound, hearing how each simple ostinato made an interesting accompaniment. I was also influenced by Philip GIass' Fascades, where the cross rhythms of the accompaniment create a carpet of sound, while the simple saxophone melody floats over top. I wanted to create something similar with tenor saxophone and the educational xylophones. I chose to write for two alto and two bass xylophones (small, educational instruments with no chromatic notes). These instruments were available at the course and I was able to have these with me while I composed. Because I do not usually play a mallet instrument, I composed ostinatos that I was able to play. All the techniques are those explored in Orff-Schulwerk - ostinato, drone, sound carpet, imitation. The saxophone sits quite high in the first movement, holding long notes, while in the second movement, the saxophone is active with a wide range of notes. I recently had an item about this piece in the Orff New Zealand Aotearoa newsletter 'Sounding Orff'. I hope to get a recording/performance of this piece from a response to the newsletter. Missa Brevis I sing in the Hamilton Civic Choir and have sung many Masses so was interested in writing a Missa Brevis. The movements Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei are for SATB with some movements scored for divisi voices. The style of this piece is approachable for many choirs because of traditional harmonic and musical organisation, while including modern arrangements of the text and approach to the music. Some choir members queried the fact that sometimes their part does not say a whole word, for example, just singing 'Dom', not 'Domine'. The words were deliberately set like this because when using block writing, as opposed to polyphony, I felt the extra syllables would change the desired musical and rhythmic texture. I wrote this piece with the Hamilton Civic Choir in mind because I know their capabilities. For example, I know the second basses can reach a low D. For the very low notes, I've added an octave option for the first basses or all basses if another choir cannot reach them. This recording by members of the choir was not up to the choir's usual standard because of time restrictions. The piano is used in my recording but is for rehearsal use only. The Gloria will be performed in the Choir's first 2009 concert in March.
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Stylianou, Constantinos Yerolemou. "Music composition." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427954.
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Foster, Christopher. "Composition portfolio." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/314592.
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Composition is a process of applied research. In a portfolio of eight original pieces, the technical and aesthetic components of this process are investigated from the perspective of several theoretical precepts which both inform and underpin its creative strategy. Drawing on theories of intertextuality, composition is collocated within a broad current of thought in which ideas and material from pre-existing ‘texts’ across a variety of disciplines are utilised and explored to create new compositional ‘texts’. This procedure is tested from several, key perspectives, characterised variously as: (i) problem-seeking, (ii) serendipitous, (iii) transgressive, and (iv) transcriptive. The first of these draws on John Dewey’s notions of art as a form of creative problematisation. In the second, techniques are developed in which performance flexibility is balanced against structural exactitude, aided by a series of parametric tables that outline a range of variables across the different elements of musical sound. As a transgressive process, compositional procedure is informed by Viktor Shklovsky’s theory of aesthetic defamiliarisation. Finally, as a form of transcription, the research draws on Ferruccio Busoni’s observations about notation and its key transmutational role in manipulating and recasting musical ideas. By adopting an eclectic attitude towards materials and techniques, a compositional strategy is formulated which offers an alternative to the assumption that advancement in the field is inevitably shaped by an ineluctable, dialectical process. A polyvalent approach and direct interaction with materials, it is argued, are the important creative ingredients which present valuable and meaningful developments in compositional language, form and technique.
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Wood, Stephen J. "Composition portfolio." Thesis, University of Salford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491047.
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Norris, Richard. "Composition portfolio." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506267.
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This thesis analyses a number of projects which represent an attempt to forge a coherent compositional language. Structurally, it delineates the contrasting, sometimes opposing elements of two distinct areas of exploration: the search tor greater accessibility in contemporary music, which focuses primarily (though not exclusively) on community endeavours; and the possibilities and results which spring from opportunities to work with professional musicians, where few stylistic or performance constraints occur.
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Davies, Benjamin K. "Composition Portfolio." Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505812.
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Harding, Richard Iestyn. "Composition commentary." Thesis, University of Bristol, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500441.
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Written commentary submitted with a folio of compositions: 1. Achos for trombone and piano. 2. Au for eleven strings. 3. Cerulean for eleven musicians. 4. The Death of General Wolfe for mezzo-soprano, tenor, baritone, violin, accordion or synthesizer and four percussionists. 5. Night Bus for Orchestra. 6. Sonata for violin and piano. 7. Temperamental in four parts with percussion.
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Bunch, M. R. B. "Composition, music." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.642214.
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1. SIRIUS. String quartet in five movements: C, B, A, K, S Approximate duration: 68 minutes 2. Justine: Overture for dance – “The Silvery Crescent Moon” / “The Dance of the Clown”. Full orchestra. Approximate duration: 18 minutes. 3. “The Great Gate of the Capital of Kiev”. Chamber orchestra. Approximate duration: 10 minutes. An arrangement and expansion of the original piece of the same title, as composed by Modest Petrovich Moussorgsky for his piano suite, Pictures at an Exhibition. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes. 5. Mattinata. Choral work for solo mixed voices a capella (Soprano, Alto, Tenor, Bass). Approximate duration: 8 minutes. 6. Rose Serenades. Three pieces for piano solo: Claire; …looks, my love…; “When I can Dance…” Approximate duration: 12 minutes 7. Two pieces inspired by the Düben family of organists: - Skara, for string quartet - “Prinz Regent: Tyska Kyrkan (Swedish Prelude)”, for organ. Approximate duration: 11 minutes 8. Five O’Clock. Chamber work for small ensemble (Flute, Clarinet in A, Percussion [Sleigh Bells, Claves, Sand Block, Glockenspiel, Bongo Drums], Piano, Violin, Violoncello. Approximate duration: 16 minutes.
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Field, Ambrose Edmund. "Electroacoustic composition." Thesis, City University London, 1999. http://openaccess.city.ac.uk/7755/.
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The aesthetics of composing electroacoustic music that includes both environmental and digitally processed sounds were studied. This was accomplished by practical means, resulting in a folio of creative work. Compositional methods and techniques relating to the interaction between environmental and processed sounds are detailed in this written dissertation. The dissertation also explores compositional applications for theories derived from the discipline of acoustic ecology. The context a sound might exist in, as well as the timbral characteristics of the sound itself, are shown to be vital in developing a coherent compositional approach for the integration of natural sounds into complex musical hierarchies. Simulated sonic environments are identified as being effective in this aim, as it is possible for the composer to exert considerable control over the development of their individual sounding elements. The characteristics that define simulation, and the interaction between sound sources and spaces were analysed. The notion of context bonding was introduced, which aims to link Smalley's concept of surrogacy' to a sound's extrinsic connotations. Discovery strategy is a practical methodology that was developed whilst composing the creative work that accompanies this dissertation. By using a set of structural devices called steering processes, it aims to assist first-time listeners in decoding the structural characteristics of a work. Steering processes couple simple and easily recognisable rhetorical codes of communication to a clear underlying sub-structure. Discovery strategy techniques do not attempt to simplify works for easy listening. Moreover, they allow the potential for more listeners to access the inner structural details of a piece. As the creative folio demonstrates, this can result in a musical surface that is highly distinctive and energetic.
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van, den Broek Koen Alexander. "Composition Portfolio." Thesis, University of Canterbury. Music, 2015. http://hdl.handle.net/10092/10774.
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Enrolling in Masters in a natural progression for me as a composer. This follows directly on from my other tertiary study: First Class Honours Degree in Composition from University of Canterbury; Diploma in Jazz from CPIT Jazz School majoring in Composition and Arranging.
My body of work includes compositions for the Silencio Ensemble, a ten piece new-music ensemble, which I was the co-founder and musical director/conductor of ('05-'09). I have received several grants from Creative New Zealand including grants in 2008 and 2013 for 'Still Standing Silent' a work composed for mixed discipline ensemble (classical and jazz) and contemporary dancers. This work premiered in Christchurch in November 2009. In 2010, I received funding to work with well-known Sydney chamber ensemble 'The Song Company' utilizing a text by a fellow Dutch New Zealander, Riemke Ensing.
Recent creative projects have included performances of Still Standing Silent for the Body Festival; a commission for The Christchurch Youth Orchestra; and Totally Weill for the Christchurch Arts Festival.
At this time the proposed works in my master’s portfolio would include:
• Violin Duo
• A large Song Cycle (50mins approx.) for singer and chamber ensemble
• A short orchestral work
• Another piece - otherwise yet to be determined
I would like to continue to compose in my unique aesthetic of jazz-like timbres and freely-atonal harmonies. In recent years, I have realised how in my work I have often been dealing with the effects of time on music. I often juxtapose freedom and structure, starkness with flowing sounds in an attempt to break free from the constraints of time. I would like to further research this idea and come to a new place/idea around time and music.
Another feature of my work is that I have enjoyed collaborating with specific musicians and composition–specific ensembles. This has resulted in some highly successful works and excellent learning experiences for me as a composer and musician. I plan to continue to develop this aspect of my practice during my master’s year.
Recently I have had the opportunity to explore working with text and as a result have developed a special and unique relationship with poet Riemke Ensing. As a result of the artistic rapport we share and the highly enjoyable experience I had of setting her work for The Song Company, one of the major works I will submit this year will be a song cycle based on her collection of poems, Storm Warning.
My core reason for being a composer is the hope or belief that music can raise the consciousness of humanity to a higher plain. In recent years I have begun to doubt this and question the point of ‘being’ a composer as distinct from working as a composer. This philosophy is something I would like to further explore both conceptually and in the work that I will submit in my portfolio this year.
I have been awarded a UC master’s scholarship for my study during 2014 for which I am extremely grateful.
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Nitibhon, Anothal. "Composition portfolio." Thesis, University of Edinburgh, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.660021.
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Makkha: Orchestra and dancer. Dukkha I-IV: Double bass and string quartet. Inside and Outside: Horn and piano. Prayers’ Cave: Viola solo, viola ensemble and piano; Viola solo, two violins and piano. Voiceless sketches I, II, III, IV, VI: 1st version for flute, clarinet, violin, viola, cello, piano and percussion; 2nd version for flute, string quartet and piano. Phra Lo (Voiceless sketches V): Music with poems for two dancers, human voices and chamber orchestra. Music in the community works: Community pieces involving creative composition and video.
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Grierson, Michael Stuart. "Audiovisual composition." Thesis, University of Kent, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432901.
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Benson, John Stuart. "Music composition." Thesis, University of Salford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400828.
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Mcbirnie, Andrew Robert. "Composition (Portfolio)." Thesis, Royal Academy of Music (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267131.
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Carvalho, Sara. "Music composition." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367491.
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Eato, Jonathan. "Composition folio." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431243.
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Renwick, Brendon. "Music composition." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259823.
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Simaku, Thoma. "Composition folio." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338858.
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Fells, Nicolas A. "Composition folio." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242161.
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Mealor, Paul. "Composition (Portfolio)." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412603.
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Dowling, Fergal. "Composition portfolio." Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434156.
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Lorraine, Ross James. "PhD - Composition." Thesis, King's College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398867.
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Alexander, Christian David. "Musical composition." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247192.
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Pritchard, Alwynne. "Composition portfolio." Thesis, University of Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271833.
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Baracskai, Zlatko. "Composition portfolio." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1739/.
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This is a portfolio of ten compositions composed at the Electroacoustic Music Studios at the University of Birmingham, Audio Research Lab at the Birmingham City University and my home studio during the period October 2007 – September 2010. The commentary comprises a set of philosophical considerations about my compositions and intent for creation. Further chapters are dedicated to compositional techniques, related traditions and piece specific documentation. A recent CD release from ‘diobel kiado’ publishing house is attached which contains two of the presented compositions. The rest of the presented compositions are to be found on the attached DVD, along with a range of programs coded to support composition is briefly discussed in the Appendix. All the expressed views are personal convictions; my music serves no other purpose than to reflect onto one observing it. The attached software is free to use and distribute provided it is appropriately referenced.
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Otondo, Felipe. "Composition portfolio." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/11081/.
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This portfolio includes four electronic pieces as well as three works especially devised for dance and theatre. The electronic music compositions Plastiches, Clangor, Showtime! and Ciguri investigate different approaches to the use of space and temporal structures. The works Dance studies Nos. 1 &2 were created as collaborations with choreographers and explore aspects of the relationship between music and contemporary dance. The large-scale dance-theatre work To have done with the judgment ofArtaud explores different aspects of experimental music and contemporary dance and is related to the later works of Antonin Artaud.
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MacMillan, James. "Music composition." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/10283/.
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The works in this folio are not so much concerned with stylistic unity and consistency as with balancing a strongly subjective expression with the need to shape the music into an effective dramatic (or even melodramatic) entity. In achieving a successful fusion of these priorities the eight works gradually unfold various approaches to handling melodic, rhythmic, harmonic and textural parameters. In preserving and enhancing that which is purely instinctual there is an emerging realization throughout the folio that it has to be submitted to some exercise of the intellect, incorporating a degree of external pre-planning. This provides an ever-increasing security of control over my material and, I believe, a greater sophistication and facility of expression. Within this general concern there emerges one other major trait: a desire to give expression to received cultural characteristics from my own background, which is Scottish and Celtic, This is achieved either by absorbing some element of Celtic traditional music or by employing some extra-musical subject matter as an ingredient, ie: a poem as a setting or as an influence, or some quasi-programmatic handling of natural or cultural phenomena from my native country. However, the ultimate purpose in this was not to write ‘national' music (ie: any notion of parody is studiously avoided), but paradoxically to attain an individual voice.
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Cashian, Philip. "Music composition." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/10284/.
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