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1
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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Minor, Laura. "Unsound compositions women and compositional agency /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010587.
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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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Chen, Ya-Chun. "Compositions." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/393.
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The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and performed approximately forty-five minutes of music for various media.
My compositions were performed on January 27 (Autumn Fantasia) and February 20 (Five Elements) of 2006, and March 12 (Bounce!), 30 (The Little Fairy), April 3 (String Quartet No.1), August 15(Ballads of Four Seasons) and November 19 (Three Pieces for Solo Violin) of 2007.
Briefly, each work was written in different compositional approach such as the timbres, specific colours, textures, themes and rhythmic practices. Autumn Fantasia and The Little Fairy explore the transformations and developments of thematic material. Bounce! is a piece in the procedure of tempo modulations and polyrhythmic practices. The textural experiment is the "source" for String Quartet No. 1.In both Ballads of Four Seasons and Five Elements, I employed the oriental tone color (pentatonic scales)in one particular line combining with western-based (chromaticism) sonority and sounding in other parts. Finally, to accumulate every compositional skills and techniques, Three Pieces for Solo Violin is a work binding each practices altogether.
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Wilson, Benjamin Franklin. "Compositions." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31605.
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The thesis for the Master of Music degree in Composition consists of live performances
of original works composed during graduate study. The student is expected to have written and
have performed approximately an hour of music for various media.
My compositions were performed on. March 21, 2005, June 2, 2005, August 1, 2005,
October 1, 2005, October 3, 2005, June 9, 2006, June 17, 2006, June 25, 2006, January 15,
2007, March 5, 2007, February 17, 2007 and March 30, 2007.Arts, Faculty of
Music, School of
Graduate
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Harty, Heather Jean. "Compositions." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31790.
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The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. I have written approximately an hour of music for various media. Included in this submission are the following works: The Fir Woods (SATB choir), Night Cycles (chamber ensemble), Days (chamber ensemble), Stick, Stock, Stone (SSA choir), Air Ameva (concert band), and Stanzas from 'The Prince's Progress' (song cycle).
While some of these works have had multiple performances, the most significant performance date for each piece is, respectively: April 16, 2005, April 4, 2005, January 30, 2007, February 19, 2007, June 29, 2007, and November 19, 2007.Arts, Faculty of
Music, School of
Graduate
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Macura, Nebojsa Slobodan. "Compositions." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31971.
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The thesis for the Master of Music degree in Composition consists of live performances of original
works composed during graduate study. The student is expected to have written and have performed
approximately an hour of music for various media.
My compositions were performed on March 3, 2006; March 18, 2006; April 13, 2006; November
9, 2006; January 7, 2007; January 26, 2007; March 12, 2007; March 17, 2007; March 31, 2007; and April
19, 2007.Arts, Faculty of
Music, School of
Graduate
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Roark, Timothy Benton. "Compositions." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/32279.
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The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study. The student is expected to have written and have performed approximately an hour of music for various media.
My compositions were performed on:
A Set of Various Future Times ("'... but not all'") as Foretold by Tsui Pen's Garden of Forking Paths, performed by the Bozzini String Quartet on April 28th, 2007 for the Composer's Kitchen Workshop (9.29)
The Arcturus Agora, read by the Vancouver Symphony Orchestra on April 19th, 2007 (6.32) Orfeo Beyond Thunderdome !, performed by the Ad Mare Quintet for the Music in the Schools Outreach Program in a series of concerts in April, 2007 (2.50)
'Crazy Jane and the Bishop', performed on April 3rd, 2007 by Margo Levae, Mike Broder, Mark McGregor, Nicholas Jacques, Joy Yeh, and Grace Harvey and directed by Francine Dulong in the UBC Recital Hall, Vancouver, BC (9.20)
The Arcturus Agora, read by the Victoria Symphony Orchestra on February 2nd, 2007 (6.04)
Le Portail d'Asni, performed on January 26th, 2007 by the UBC Contemporary Players in the UBC Recital Hall (8.10)
On Nights Like Tonight..., performed September 10th, 2006 by the Aventa Ensemble in the Philip T. Young Recital Hall, Victoria, BC (5.32)
Il Pleut, Il Pleut Bergere: Variations on a Folk Melody, performed on April 8th, 2006 by Mark McGregor, Jessica Raposo, Jennifer Butler, and Sara Kalke in the UBC Recital Hall, Vancouver, BC (7.44)
Sketches for Three Pianos After Paintings by G. Richter, performed on March 20th, 2006 by Jesse Popov, Aleks Szram, and Brad Stark in the UBC Recital Hall, Vancouver, BC (9.09)Arts, Faculty of
Music, School of
Graduate
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Samandari, Farshid. "Compositions." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/32340.
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The thesis for the Master of Music degree in Composition consists of live
performances of original works composed during graduate study. The student is
expected to have written and have performed approximately an hour of music for
various media.
My compositions were performed on:
Apogee on November 10, 2005, by Mark McGregor in Recital Hall.
Prelude to Certitude on April 3, 2006, by VSO in Orpheum.
Of Life and Love on March 18, 2006 by Turning Point Ensemble in Western Front.
Asheghaneh on September 30, 2006 by VICO IN Chan Center.
Beyond on March 31 2007 by Morgan Zentner in Recital Hall.
This compilation, despite the variety of medium, clearly represents my interest in
contemporary classical vocabulary, spectral analysis, and extended techniques, as
well as the precious universal heritage of ethnic music. Shapes and forms of these
pieces though representative of contemporary composition, has aesthetic roots in
various ethnic arts, especially in their frequent use of non-western ratios. The pitch
material despite its occasional resemblance to existing traditional music is derived
from synthetic modes, which combines a number of divergent elements including
Indian raga, Persian gushe and Varesian techniques. I have adapted a harmonic
language, which is derived from spectral analysis of few Persian instruments, including Tar and Santur. This bimodal harmonic language is often ornated with a
modal counterpoint, which has its roots in different ethnic modes. In other words, not
only the structure and plan but also the content of these pieces conveys intercultural
elements.Arts, Faculty of
Music, School of
Graduate
11
Ritter, Martin. "Compositions." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/15295.
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This thesis consist of six original compositions, which were performed on Feb. 7, 08; April 16, 08; March 21, 09; April 13, 08; Sept. 26, 08; April 7, 09. The total duration of the works is approximately 50 minutes. The compositions are: Annabel Lee, Na Krstu Sam Te Nasao, Summer’s Day Winder’s Night, Breathless, Fall Fanfare, Say What?
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Padgett, Eileen Victoria. "Compositions." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33958.
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This thesis consists of nine original compositions, which were performed on January 2, 2010; March 22,10; April 20, 2010; July 07, 2010; November 22, 2010 and April 02, 2011. The total duration of the works is approximately 55 minutes.
The compositions are:
Eyes Closed
Waltz After Dark
Three Scenes Before Waking
Light in the Dusk
Echoes in Silver
Quiet Woods Beneath an Evening Sky
Fanfare
Nursery Tales
Effortlessly
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Luksan, Steven Mark. "Compositions." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/41987.
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The thesis for the Master of Music degree in Composition consists of live performances of original works composed during graduate study.
The student is expected to have written and have performed approximately an hour of music for various media.
My compositions were performed on:
March 14, 2011 (Prelude in F-blue)
May 27, 2011 (Quartet)
August 14, 2011 (Prelude in F-sharp Minor)
November 30, 2011 (Lament)
February 3, 2012 (Mountain Dances and Fjord Tune)
February 9, 2012 (Prayer)
March 26, 2012 (Rite)
April 3, 2012 (Solveig’s Song)
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Kelly, Nicholas Ryan. "Compositions." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42174.
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This thesis consists of seven original compositions written and performed during graduate study. These pieces were performed or read on June 19, 2011; November 28, 2011; February 9, 2012; March 28, 2012; April 10, 2012 and April 14, 2012. Their combined duration is approximately 47 minutes.
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Noakes, Ryan Alexander. "Compositions." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42176.
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This thesis consists of 10 original compositions, which were performed on December 2, 2010; March 12, 2011; March 25, 2011; June 19, 2011; November 21, 2011; December 7, 2011; December 11, 2011; March 21, 2012; March 25, 2012; April 3, 2012; and April 16, 2012. The total duration of the works is approximately 60 minutes. The compositions are:
No Contest
Miniatures for Wind Band
Four Interludes
rain ruin
Leezavetah
Soliloquy for Flute
O Come, O come Emmanuel
Piano Quartet
Five Goodbyes
Soliloquy for Electric Trumpet
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Marshall, Daniel David. "Compositions." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44329.
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The thesis for the Master of Music degree in Composition consists of original works composed and performed during graduate study. The compositions were performed on February 3, 2012; June 8, 2012; November 3, 2012; November 19, 2012; November 26, 2012; November 30, 2012; March 28, 2013, and April 8, 2013. The combined duration is approximately 70 minutes.
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Garbet, Brian David. "Compositions." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44358.
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This thesis consists of 7 original compositions, which were performed on March 19, 2012; April 10, 2012; March 15, 2013; March 21, 2013; April 9, 2013; April 27, 2013; and June 12, 2013. The total duration of the works is approximately 57 minutes.
The compositions are:
Sidewalk Blues --
Mockingbird --
Nevermore --
Benazir --
Subatomic --
Adhan --
Sacred Spirals --
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Fujikura, Dai. "Compositions." Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499237.
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Sadler, David. "Compositions." Thesis, University of Canterbury. Music, 2015. http://hdl.handle.net/10092/10807.
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Ip, Kim-Ho. "Compositions." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/30302.
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Rodríguez, Fontecha Ana Belén. "Folio of compositions : commentary and 11 compositions." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12243/.
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This Folio of Compositions is the result of an intense musical search. A search that I do not believe to be finished yet and which probably never will be, as being a composer is a lifelong journey of exploration. There has been a clear development in my personal voice during the last 5 years, a development that is documented in the music of these 11 pieces. The folio includes solo pieces, several chamber works and an orchestral score. Through the composition of these works I have consolidated a style where polyphonic texture, which involves a strong use of polyrhythms and isorhythm, and progressive transformations in pitch and harmony, play an important role. This commentary is divided into two sections. The first part contains some information about all the compositions, outlining facts such as the date of composition, first performance and main features of the piece. In the second part I present details and examples of compositional techniques, focusing on three specific music elements: harmony and pitches, melody and rhythm. By composing this corpus of pieces I had the aim of looking further into the essence of music, into the process of communication and the beauty of art.
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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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Van, der Merwe Steven. "Compositions portfolio." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1012116.
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McKenzie, Robert George. "Musical compositions." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27378.
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Newbury, Guy. "Musical compositions." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/9283/.
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Sherman, Donald Brad Sherman Donald Brad. "Two compositions /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/15507.
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Ulman, Erik Ulman Erik Heinowitz R. Cole. "Two compositions /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9989254.
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Thesis (Ph. D.--Music)--University of California, San Diego.Vita. Music for solo piano, and a chamber opera scored for soprano and baritone soloists, flute, trombone, piano, electric organ, and percussion (1 performer). Includes commentary by the composer on the 2 compositions. Includes bibliographical references.
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Al-Neyazi, Sandra. "Passage Compositions." Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-252822.
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The field between Stockholm University Frescati campus and the student housing area of Lappkärrsberget, commonly known as Lappis, is today used as a passage – otherwise it is completely empty. This passage is a naturally created shortcut by thousands of students living there, because it is simply a faster way home than the constructed pathway beside it. This proposal is about adding a structure along a passage, an open ground level available for everyone passing by. What geometries are formed from the angle of this specific one? What about the evident lack of student housing in Stockholm today? Can architectural representation be used to develop these design decisions? Drawings, models or even composed techniques are all important ways of explaining spatial atmospheres and logics, especially as architecture students, because these are usually the only physical element that bring our projects to life.
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Ip, Kim Kuok. "Portfolio of compositions : five compositions for solo instruments with accompaniment." Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26727/.
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This PhD thesis consists of a portfolio of musical compositions for solo instruments with accompaniment. The portfolio, which contains absolute and programme music, includes two largescale works: Piano Concerto with Symphony Orchestra Fok Siu Yok and Saxophone Concerto with Symphonic Band - Pimenta. There is also music for Clarinet, Violin and Guzheng (A Chinese "Zither like" instrument). The principal of the thesis is specifically researching about Chinese tradition music, including its folk tunes, religious music and opera music. The portfolio shows the endeavors of putting these kinds of musical materials into classical musical composition: containing tonal, modal and serial works. Nevertheless, other elements like jazz and Fado (a type of Portuguese singing) are also attempted in some pieces of this portfolio. Dukkha, Havoc in the Heavenly Kingdom and Pimenta were premiered in Macau (Small Auditorium, Macao cultural centre) on 3rd October 2010.
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Leedham, Christopher. "Portfolio of compositions." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722996.
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Simpson, Wayne Charles. "Portfolio of compositions." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/7385.
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This essay will address the evolving nature of, and diversity, in method types of musical analysis. It will explore the connection between methods and approach types to musical analysis and related conceptions of what constitutes meaning in music. These methods will be largely understood as operating inside given parameters of musical meaning. Following a short history of some of the developments concerning structure in music from the 17th to late 19th century, I will discuss some of the dominant analytical methods and aim to highlight common features between them. I will discuss the different approaches these methods employ and highlight areas where a given method might be seen as using more than one approach. I will then investigate some approaches to composition that fall outside the conventional view of musical meaning and ultimately suggest the application of an eclectic model to musical analysis.
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Fulton, Euan. "Portfolio of Compositions." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4701/.
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Lancaster, David. "Portfolio of compositions." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13605/.
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This portfolio of compositions contains ten pieces, composed between 2012 and 2016. It is a mixed portfolio, representative of a broad range of my musical interests rather than one which specialises exclusively on a single facet of my output. There are several strands of thought which emerge from this portfolio; I regard them as inter-connected and braided together throughout my work. They are fundamental to my composing and are central to the development of my personal musical language. For the sake of concision and cohesion I have grouped them into three sections: 1) the search for clarity, at all levels but particularly that of form and design, 2) exploring aspects of repetition within these pieces, and 3) the influence of cinematic practice upon the compositional process, specifically the impact of visual techniques (such as film editing) on the assembly of musical structures. That discussion is followed by commentaries on the individual pieces included in this portfolio.
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Curtis-Powell, Martin. "Portfolio of compositions." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/7684/.
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Hannan, Geoffrey Martin Francis. "Portfolio of Compositions." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487766.
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This submission takes the form of a) ten compositions written between 2001 and 2006; b) an 11 ,ODD-word commentary, and c) audio-visual documentation (one audio CD of .aiff files and one data CD of a .mov file (QuickTime». . The commentary is in interview format and discusses the following issues and topics representative of fi~ years of thought and research about composing: cliche, pastiche, critique, purity in musical modernism, informal process music, obfuscation, satire, absurdity, subverting constructs, modernism with inappropriate material, sampling, technological metaphors, information theory, redundancy, ambiguity of 'serious' and 'funny', locating musical meaning, 'overmodemism', violence, recognising 'the new', sequelae of established models, value judgments, politics an.d music, waking up the audience, contextual dissonance, theatre and comedy, performers under duress, recontextualising performance parameters, post-tonality, structure and form, Logic Audio, computer-driven music, the cover version, conceptually-driven music, regUlar phrase-lengths, repetition, instinctive behaviour, Eros and Thanatos, musical teleology, pleasure and pain, aesthetic differences between countries, aesthetics and morality, naivety and sophistication and speaking to the heart.
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Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.
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Gates, Dorothy. "Portfolio of compositions." Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26687/.
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Summary of portfolio This Portfolio of Compositions consists of six works diverse in style and genre. It represents a journey of exploration through the traditional music of various cultures, imbruing those distinctive flavours of tone, colour and rhythm into my own approach and sound world. 1. Another World A three movement work for brass quintet with its basis found in fragments of an original melody, Eternal God written by the late Leslie Condon. It is further influenced by my fascination with musical impressionism and minimalism. The piece explores the sonorities of the brass instruments as well as the technical capabilities of the players. 2. Hope A major work for brass band in three movements exploring the colours of Middle Eastern music through the genre of brass and percussion. The piece is programmatic essentially, reflecting on the nature of war and the plight of the innocents caught up in war. It was premiered by the New York Staff Band of The Salvation Army at the Queen Elizabeth Hall, London in January 2010. 3. Soul Origin A work for trombone quartet and brass band uncovering the many textural possibilities of the combined ensembles, the lyricism of the trombone and technical dexterity of the soloists. The style finds its origin in Latin rhythms and jazz with the main body of the piece being a bossa nova. It was written for Bones Apart at the request of the Enfield Band of The Salvation Army and was premiered in October 2009 at SUohn's Smith Square, London. 4. Unseen Things - Song Cycle The three songs that comprise this song cycle are poems written by the British poet Fay Inchfawn. I Child-Soul II The Flight of the Fairies III The Home Lights The music is scored for mezzo-soprano, piano and string orchestra. Highly descriptive, it explores the sonorities and textures available within the ensemble; and the relationship of the music to the text. 5. Soul Reflections This is a major work for wind band in three movements finding its origin in the poetry of Jalal al-Din Rumi, a 13 th century Persian mystic. The music follows the themes of the poems very closely and delves into the combined sound palette of wood winds and brass. I The Creek & the Stars II The Silent Articulation of a Face III Cup & Ocean 6. The Salvation Army Lass This extended work for brass band and piano, is a film score, written to accompany the American silent movie, The Salvation Army Lass (1909). The score seeks to reflect the action on the screen. It represents a journey through style, orchestration and theme development within the constraints of film.
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Meechan, Peter. "Portfolio of compositions." Thesis, University of Salford, 2009. http://usir.salford.ac.uk/26814/.
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My portfolio will consist of five contrasting large scale works for wind and brass bands which explore the textural and colouristic potential of these ensembles: Apophenia - a three movement concerto for trumpet (doubling flugel and piccolo trumpet) and brass band. Apophenia opens with a fast and frantic movement exploiting the clarion brilliance of the Bb Trumpet. The second movement is sombre in nature and exploits the darker tonal characteristics of the flugel horn. The finale, an ostinato driven dance movement, features the high tessitura of the piccolo trumpet. • Macbeth - a large scale test piece for brass band. Character portraits (Of the three witches as well as Macbeth himself), abstractions (The lament), and scenes (The final battle between Macbeth and Macduff) make up the 9 interconnecting sections of the piece. • Manchester Sketches - a three movement work for a brass quartet consisting of four instruments that are at the heart of a brass band: two cornets, tenor horn and euphonium. The Karman Line - a concert work for wind band that explores textures in the wind band. • Fields of Destruction - a song cycle for euphonium and wind ensemble. The euphonium is an ideal vehicle for writing "songs without words" and this commission gave me chance to explore the lyrical, melancholy, nature of the instrument.
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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.
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Smith, Mark Colin. "Folio of compositions." Title page, contents and fanfare only, 2000. http://web4.library.adelaide.edu.au/theses/09MUM/09mums655.pdf.
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Davies, Tansy. "Tansy Davies compositions." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408915.
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Saraiva, Lourdes. "Portfolio of compositions." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/4783/http://etheses.whiterose.ac.uk/4784/.
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This Portfolio of Compositions consists of eight scores, recordings on CD and commentary on my creative process. The pieces are: (1) Stone Structures, for cello and piano; (2) The Path of the Thousand Doors, for three snare drums; (3) Four Poems for Guitar, for guitar solo; (4) Night View, for flute and piano; (5) The Path of the Old Oaks, for chamber ensemble; (6) The Lake Isle of Innisfree, for female voice with finger cymbals, and flute; (7) Poema Místico, for speaking pianist with amplified voice; and, (8) Paths Between the Wind and the Sea, for full orchestra. They were composed in York between October 2009 and February 2013. The work presented here is the result of my intense compositional practice, development of techniques, research, reflection, and experimentation with performers. The main aspect focused in the compositional process of the pieces in this folio was the creation of textures – those that results from the overlapping of gestures in combination or, in a greater degree, of the overlapping of textures, i.e. multilayered textures. For me, the use of these overlapping of gestures or multilayered textures is an important compositional tool that helps to create directionality, contrast, ambiguity, transition in different hierarchical levels and between sections, and continuity in an atonal musical discourse – either in clear-cut multimovement pieces, or in larger-scale single movement pieces.
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Adamia, Marina. "Portfolio of compositions." Thesis, University of Edinburgh, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520498.
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Tonia, Evangelia. "Portfolio of compositions." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/8304.
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Rekleitis, Konstantinos. "Portfolio of compositions." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/8303.
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Rodenhurst, Douglas. "Portfolio of compositions." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574563.
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The contents of my portfolio reflect my overall interest in the works of Berg, Berio, Lutoslowski, Ives and Carter. The subsequent analysis of works by these composers has developed my overall techniques in counterpoint. canon and in the spatial use of instruments within the orchestra. The last two pieces in my portfolio reflect an interest in temporality and the structures found in nature. In this dissertation, the terms: Rotation and Spiral are used frequently. We can listen to a piece of music and hear it as a forward moving succession of events heard within a certain period, which could be described as the "linear" Newtonian Model ( 1. pp.23). An alternative model however, is to experience a piece of music as entering a three dimensional sound world; subsequent reoccurring motives and/or themes within this world could now be seen as rotations or spirals. A Rotation would begin and end a section with the same theme or motive- a Spiral would end the section using the theme Imotive at a higher or lower level and perhaps moving on to different material altogether. These rotational and spiral constructs can also be seen in nature; for instance in the cyclic reoccurrence of the four seasons and in the structure of shells. These models of thematic and melodic reference and their subsequent orbits could also now be translated as walking and returning to the same point of departure - as seen in the illusionary movements in the staircases of Escher. The listener can move within this aural construct as if walking on a spiral staircase - upwards or downwards - and by doing so, hear the music as a three dimensional concept, rather than the alternative "linear" (two dimensional) one.
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Ring, Judith. "Folio of Compositions." Thesis, University of York, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503331.
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Sarantis, Christopher John. "Portfolio of compositions." Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500811.
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Shahov, Pande. "Portfolio of compositions." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604020.
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This portfolio of compositions includes nine pieces, most of which relate to Macedonian folk music. Some compositions quote entire folk songs while others only excerpts; some employ variation and estrangement as compositional tools, without relation to specific folk songs. The harmonic language developed in the earlier pieces often relates to jazz, as I wanted to explore the value of applying established jazz voicing techniques outside their usual context. Towards the end of the research process, I tried to establish my own harmonic vocabulary, independent of jazz influence, As I turned my focus from harmony to melody, I chose heterophonic textures as a starting point for the transformation of the melodic and rhythmic material. My aim was to explore the potential of a single melodic line as the main generator of all development by expanding its contours and breaking its harmonic background.
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Crowdus, Shaun David. "Portfolio of compositions." Thesis, Bangor University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539906.
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