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Dissertations / Theses on the topic 'Concertos'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Baczewski, Philip. "Vox Organalis." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331310/.

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Vox Organalis is a concerto for organ and orchestra. It employs an ensemble comprising the compliment of wind, percussion, and string instruments normally available within a contemporary symphony orchestra with augmented brass and woodwind sections. It is intended to be performed with a large organ such as might be found in a symphony hall or large church. The work is in two movements, and its intended performance time is twenty-five minutes. Use of the concerto format within Vox organalis results in a new approach to organizing the interaction between the solo part and the orchestral accompaniment. The organ part is notated in traditional metered notation, but the orchestral notation is organized in units of clock time (seconds). The horizontal spatial arrangement of the orchestral notation corresponds to the timing of the metered organ part. Pitch organization in Vox Oraanalis is derived from a twelve-tone row based upon the natural harmonic series. Several techniques of serial composition were used to organize and select elements of the tone row for use in the construction of the work. Use of the tone row for horizontal and vertical pitch structures provides unity to the pitch organization of the work. Vox Organalis is constructed in 12 sections which help define the formal shape of the work. Four of these sections comprise Movement I, and eight are contained by Movement II. The length of the formal sections are based upon the series of natural harmonic numbers from which the tone row was derived.

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2

Choroba, Volker. "Das Konzert für Orgel und Orchester im 19. und 20. Jahrhundert /." Kassel ; Basel ; London : Bärenreiter, 2001. http://catalogue.bnf.fr/ark:/12148/cb377129043.

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3

Billing, Sally. "Bacewicz : the violin concertos." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.

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This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devoted to a contextual analysis of Bacewicz's series of seven violin concertos and the study concludes with a consideration of a number of factors affecting Bacewicz's career and subsequent reception, addressing issues such as Polish cultural policy, the status of women composers, and her juggling of a number of professional and domestic roles. Appendices provide comprehensive listings of both her catalogue of works and recordings. Most importantly, however, the study uncovers the merit and originality of a number of works which exhibit a creative approach to string writing and a highly imaginative use of timbre. Such research should provide the invitation to others for further investigation into a catalogue containing over two hundred works.

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4

Forster, Robert. "Die Kopfsätze der Klavierkonzerte Mozarts und Beethovens : Gesamtaufbau, Solokadenz und Schlussbildung /." München : W. Fink, 1992. http://catalogue.bnf.fr/ark:/12148/cb355950647.

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5

Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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6

Daussat, David M. "Birth of the modern concerto an explication of musical design and intention in Journey, concerto for contrabass tuba and orchestra /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6116.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 17, 2002, June 14, 2004, Oct. 18, 2004, and Nov. 26, 2007. Includes bibliographical references (p. 30-32).

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7

Stewart, Brandon (Brandon Gregory). "Horn Concerto in E-flat Major (C41) by Antonio Rosetti: A Critical Edition." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609216/.

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This project delivers to the scholar and performer a critical edition of a little-known horn concerto by Antonio Rosetti. Standing in contrast to performance or practical editions, critical editions demand that the editor exerts a non-trivial measure of authority over the state of the text. Performers often find this fact to be uncomfortable given the normal tendency to revere the perceived intent of the composers based upon the text that they set down. When engaging with sources, it is rarely clear what that intent is, or which of the available sources most closely represents that intent. Those available sources often disagree with one another, even those in the composer's own hand. It is vital for the editor to know, as precisely as is possible, who created the source material, when they created these sources, and why they created these sources. At that point the editor must decide which sources will best fit his or her framework for the creation of the critical edition. At that point the editor will grapple with numerous inconsistencies and ambiguities within those sources, and then use his or her own authority to fix the text of the composer's work into a single version for today's use. The Horn Concerto in E-flat Major (C41) by Rosetti presents a unique case to the editor, scholar, and performer, in that it exists in two versions that carry substantial differences in the solo part. These differences are so great that it is often difficult to consider them as representative of the same work. This edition presents both versions, as each have different original purposes, and edits them in parallel so that the performer may determine which usage is most appropriate for his or her needs.

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8

Rishton, Timothy J. "Thomas Chilcot and his concertos." Thesis, Bangor University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282264.

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9

Howard, Christopher Eugene. "Piano concerto." Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.

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10

Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.

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11

Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.

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The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a rondo setting.

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12

Gonçalves, António Jorge Santa Barbara. "Os concertos no tempo de Sor." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7451.

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Mestrado em Música
O presente texto serve de apoio ao projecto instrumental “Um concerto no tempo de Sor” que teve como modelo o concerto ecléctico, cuja forma de estruturação é a mais frequente ao longo de toda a primeira metade do século XIX. Este tipo de concerto caracteriza-se essencialmente por uma programação alternando participações instrumentais e vocais, dentro de várias combinações possíveis, intercaladas, na maioria dos casos, com solos instrumentais. Assim, este trabalho teve como principal intuito reunir elementos que permitam uma reflexão sobre o modelo de concerto ecléctico, do qual a apresentação pública do programa do projecto instrumental funcionará como um exemplo prático. Com vista a uma contextualização do tema escolhido foram inicialmente abordadas, de forma sintética, as transformações das práticas musicais na transição do séc. XVIII para o séc. XIX e o contributo destas transformações no processo de autonomização da música. Este texto analisa igualmente as principais formas de organização de concertos em Londres e Paris, capitais onde decorreu a maior parte da actividade de Sor como concertista entre 1813 e 1839, o que nos permitirá observar uma série de interacções dos planos económicos, culturais e sociais e o tipo de relacionamento dos músicos entre si. Serão ainda identificados os elementos comuns a diferentes repertórios que caracterizam o essencial do paradigma do concerto ecléctico. Por fim será demonstrada a forma como o programa do projecto instrumental se enquadra dentro da lógica dos modelos de concerto no tempo de Sor relativamente à construção do programa, a interpretação com partitura e a escolha do local do concerto.
This monograph supports the instrumental project "A concert in Sor’s time" modeled according to the structure of the eclectic concert, the most frequent format throughout the first half of the nineteenth century. This type of concert is essentially characterized by an alternating instrumental and vocal contributions, within various possible combinations, interspersed, in most cases, with instrumental solos. The main objective of this monograph is to gather elements for a reflection on the model of eclectic concert, and its public presentation as a practical example. In order to contextualize the theme of this project we addressed initially the transformation of musical practices in the transition of the eighteenth to the nineteenth century and the contribution of these changes in the process of musical autonomy. This monograph also examines the major forms of organization of concerts in London and Paris, where most of the activity of Sor as a concert player took place, between 1813 and 1839, allowing us to observe the interaction of economic, social and cultural context, and the type of relationship between the musicians themselves. The research also identified the elements that are common to different repertoires and that characterize the essential of the eclectic paradigm of the concert. Finally it demonstrated how the program of the instrumental project fits within the logic of the models in concert during Sor’s time, regarding the construction of the program, the performance with the scores and the choice of the concert venue.

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13

Coldicott, Ann-Louise. "A source study of Beethoven's concertos." Thesis, University of Manchester, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667770.

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14

Potter, David. "Concertino for Tuba, Winds, and Percussion." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500331/.

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Concertino for Tuba, Winds, and Percussion is a work for solo tuba and an ensemble consisting of two flutes, two oboes, two clarinets, bass clarinet, bassoon, four horns, two trumpets, two trombones, bass trombone, and three percussionists. The percussionists play small, medium, and large suspended cymbals, triangle, tam tam, metal wind chimes, five tom toms, snare drum, tenor drum, bass drum, two sets of two timbales, five temple blocks, maracas, glockenspiel, vibraphone, chimes, xylophone, marimba, and five timpani. The three movements of the work follow the arrangement of the standard concerto format (fast-slow-fast). The lengths of the movements are approximately four minutes and fifteen seconds, two minutes and twenty-five seconds, and four minutes and ten seconds respectively. The total duration of Concertino is about eleven minutes.

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15

Lee, Jung-Eun. "Aspects of piano performance : stylistic analysis of the concerto in D, op. 13, for piano and orchestra by Benjamin Britton." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1354643.

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The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of Britten's life, accomplishments as a pianist, and his contribution to the piano repertoire in general. The third chapter provided a stylistic analysis on each movement of the concerto. It included structural analysis based on the formal, motivic, thematic, rhythmic, melodic and harmonic elements presented throughout the concerto. Additionally, possible technical challenges and suggestions for practice methods were recommended based on the issues of phrasings, articulations, dynamics, musical expressions and styles. Since each movement has its own unique titles such as Toccata, Waltz, Impromptu, and March, the origins of the genre and Britten's association with the terminology was also examined.The dissertation not only underlined the importance of Britten as a composer for the piano, it also revealed his distinct compositional characteristics shown in the piano concerto in relation to his other significant piano repertoire. The dissertation closed with a summary of the detailed analysis of the concerto and recommended further studies on Britten and his piano concerto.
School of Music

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16

Worlton, James Timbrel. "Systematic Composition and Intuition in a Concerto for Organ and Orchestra." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4278/.

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Historically, composers have used methods in addition to inspiration in writing music. Regardless of the source materials they used, composers ultimately rely on their musical sensitivity to inform the compositional decision-making. Discuses the rotational aspects of decimals that are created from certain prime-number denominators, and focuses on the prime number 17. Shows how these decimals can be transformed by converting them to different number bases. Looks at the Golden Proportion and its use in creating formal structures. Examines compositional and aesthetic issues arising from using number series to generate the pitches, rhythms, and sections in the Concerto for Organ and Orchestra. This process of composition reveals musical gestures that may not have been discovered using more intuitively based approaches to composition. Shows how musical sensitivity was necessary in shaping the numerically derived material in order to create aesthetically satisfying music.

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17

Daussat, David M. "Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6116/.

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John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for works level of interest within their respective schools and experiences.

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18

Yoo, Kyungjin. "Oration, Concerto Elegiaco by Frank Bridge: A Practical Guide for Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538701/.

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English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.

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19

Duhaime, Ricky Edward. "A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331084/.

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The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.

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20

Simonson, Eric. "E/F : a concerto for MIDI acoustic piano, concertino group, live electronics, electro-acoustic tape, and chamber orchestra (live or pre-recorded) /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935486.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and technical details: p. v-viii.

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21

Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.

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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.

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22

Waseen, Symeon L. "Concerto for piano and orchestra homage to W.A. Mozart /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1124224335.

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Bartman, Kristopher M. Mobberley James. "Piano concerto no. 1." Diss., UMK access, 2004.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2004.
"A thesis in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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Jones, Jesse Benjamin. "Piano concerto no. 1 /." Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6041.

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Dellinger, Michael Eldon. "An analysis of Frank Martin's Second Piano Concerto /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259125218152.

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Hartman, Lee Mobberley James. "Concerto for vibraphone." Diss., UMK access, 2009.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.
"A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 30, 2009. Includes performances notes. Online version of the print edition.

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27

Souza, Rodolfo Coelho de. "Concerto for computer and orchestra /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992735.

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28

Tan, Wann-Dar. "Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis and Performance Considerations." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/tan%5Fwann-dar/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 2000, Apr. 16, 2001, Nov. 3, 2003, and Mar. 28, 2005. Includes bibliographical references (p. 113-115).

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29

Smith, Erin. "An Annotated Bibliography of American Oboe Concertos." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522354544099437.

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Lane, Jay D. "The concertos of Carl Ditters von Dittersdorf /." Ann Arbor, Mich : UMI, 1997. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000289055.

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Kotsoni-Brown, Stavria. "The solo cello concertos of Antonio Vivaldi." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366973.

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Eccleston, Elizabeth E. "An Annotated Bibliography of Canadian Oboe Concertos." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471254044.

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Hart, Shawn Michael. "An analysis of Joseph Schwantner's Concerto for percussion and orchestra." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9772.

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Reed, Marc Allen. "An historical and stylistic examination of Charles Chaynes' Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3924/.

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Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconceptions when interpreting these pieces. The thirty-nine year gap between Chaynes' Trumpet Concerto No. 1 and Trumpet Concerto No. 2 is a remarkable time span between major compositions, and examining the works gives insight to the evolution of the trumpet concerto throughout the twentieth century. This project highlights Charles Chaynes' contribution to the trumpet repertoire from both the beginning and end of his compositional career, and fills the research gap concerning his concertos. It includes correspondence with Charles Chaynes and others, in order to gain information not found in common source materials. It highlights examples from each concerto that are representative of the composer's compositional style.

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Johnson, Crystal. "Abstracts for the mind : a work in three movements for viola and orchestra /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131464908.pdf.

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Loesch, Heinz von. "Das Cellokonzert von Beethoven bis Ligeti : Ästhetische und Kompositionsgeschichtliche Wandlungen einer musikalischen Gattung /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb355250027.

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Carpinteyro, Eduardo. "Pedagogical aspects in David Popper's four cello concertos." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1195506444.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: Lee Fiser. Title from electronic thesis title page (viewed Feb. 5, 2008). Includes abstract. Includes bibliographical references.

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Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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CARPINTEYRO, EDUARDO. "PEDAGOGICAL ASPECTS IN DAVID POPPER'S FOUR CELLO CONCERTOS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195506444.

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Picton, Michael. "Curio shop : concerto for piano and chamber orchestra." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27481.

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v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)
Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.
It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topics include the use of tonality in the work, the variation techniques used in composing the interludes, and a discussion of compositional procedures used in a single movement along with examples of their application in other movements.

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Ferguson, Sean. "Concerto for piano and orchestra : "Inside passage"." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37726.

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the score of this work.
Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my use of contour theory. Part II of the first volume illustrates these techniques through an analysis of the Concerto for Piano and Orchestra. The main topics of this analysis are the creation of background harmonic regions based on high pitch commonality to a referential sonority, and the integration of a basic shape or contour into all parameters and structural levels of the music.
Volume two is the full score of the Concerto for Piano and Orchestra. This work has a duration of 23 minutes. It is scored for solo piano and a small orchestra consisting of flute (doubling on piccolo), oboe, B-flat clarinet, bassoon, horn in F, trumpet in C, trombone, two percussion and strings (44332). The Concerto is divided into four movements, played without pause, and two brief opening and closing sections.

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關傑卿 and Kit-hing Kelina Kwan. "Cadenza as reception: stylistic and structural analysis of selected cadenzas for the first movement ofBeethoven's piano concerto op. 58." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234197.

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Ai, Chia-Huei. "Chopin's Concerto in E minor, op. 11 : an analysis for performance /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265555439094.

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Almeida, Ana Cristina de Oliveira. "Memórias no feminino : o círculo de cultura musical do Porto." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/1152.

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Mestrado em Música
O Círculo de Cultura Musical do Porto é actualmente o único testemunho vivo de uma instituição verdadeiramente nacional que foi fundada em Lisboa em 1934 e que progressivamente se expandiu por Portugal e pelas antigas Colónias portuguesas em África e na Ásia. Inserindo-se num movimento internacional de criação de sociedades de concertos transversal a diversas realidades europeias e do Novo Mundo que aqui serão analisadas, o CCM/Porto tem sido dirigido, desde a sua fundação, num quadro dinástico de sucessão cujos distintos modelos de liderança contribuíram decisivamente para que ainda hoje procure responder ao ideal que esteve no cerne da sua criação. Esta dissertação procura estudar, através de um cruzamento de olhares – o da história e o da etnomusiclogia –, o papel desenvolvido pelo CCM/Porto desde a sua criação, conhecer o lugar por ele ocupado no panorama portuense enquanto centro de divulgação musical e compreender de que forma se justifica a sua sobrevivência actualmente, 30 anos após a extinção da sede que lhe deu origem e num contexto cultural e social envolvente distinto do de 1937. Na verdade, adaptando-se sucessivamente a novas realidades e conservando um conjunto de sócios que fielmente acarinham e suportam esta iniciativa que a todos eles pertence, o CCM/Porto persiste na concretização do sonho de Elisa Pedroso: «…nele ouviremos, para nos elevarmos nas benditas comoções da grande Arte, as mais belas Obras, os mais célebres virtuosi, e também os mais escolhidos artistas da palavra» (Elisa de Sousa Pedroso, fundadora do Círculo de Cultura Musical). ABSTRACT: Established in 1934, Porto's Círculo de Cultura Musical has become the last example of a truly nation-wide institution which has progressively expanded throughout Portugal and its former colonies in Africa and Asia. Belonging to an international movement dedicated to assembling concert societies which was common to several european and New World realities – to be analyzed henceforth – CCM/Porto has been managed since its inception in a dynastic way of succession whose distinct leadership models have decisively contributed to that even today the ideal which originated it stands accomplished. This dissertation aims to study, through an historical view, the role played by CCM/Porto since its foundation, to acknowledge its position as a center of musical dissemination in Porto’s cultural panorama and to understand in which way its survival is justified nowadays, 30 years after the closing of its original headquarters and in a socio-cultural context distinct from the one of 1937. Actually, constantly adapting to new realities and preserving an associate base which faithfully cherish and support this initiative, CCM/Porto keeps on fulfiling Elisa Pedroso’s dream: «...in it we shall hear, for us to rise on the blessed commotions of the great Art, the finest Pieces, the most famous virtuosi and also the chosen artists of the word» (Elisa de Sousa Pedroso, foundress of Círculo de Cultura Musical).

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Lehrer, Charles-David. "The Nineteenth-century Parisian concerto /." Ann Arbor : Mich. : UMI, 1990. http://catalogue.bnf.fr/ark:/12148/cb35296154x.

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Odenkirchen, Andreas. "Die Konzerte Joseph Haydns : Untersuchungen zur Gattungstransformation in der zweiten Hälfte des 18. Jahrhunderts /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35680110b.

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Schröder, Gesine. "Cadenza und Concerto : Studien zu Igor Strawinskijs Instrumentalismus um 1920 /." Köln : Studio, 1996. http://catalogue.bnf.fr/ark:/12148/cb375148833.

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Oliver, Jason L. "The Creation of a Performance Edition of the Georg Christoph Wagenseil Concerto for Trombone with Attention Given to the Surviving Manuscripts and Primary Sources of Performance Practice from the Middle of the Eighteenth Century." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30500/.

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The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such attention had been lacking in previous decades. Chapter 2 examines the life and musical background of the composer. Chapter 3 discusses the history surrounding the possible origin of the Concerto and its performance history. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 details the creation of an urtext edition of the Concerto. Chapter 6 concludes this document with a performer's guide to the work based on the urtext edition of the solo trombone part to create the performance edition. This performance edition of the work includes historically informed solutions to the problematic technical elements of ornaments. The final section of the chapter makes suggestions regarding the preparation and performance of a historically informed version of the Concerto for Trombone.

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Silva, Sara Daniela Marques da. "A música clássica em Portugal está em crise?: uma investigação na região de Aveiro." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15072.

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Mestrado em Ensino de Música
A presente dissertação propõe identificar se a música clássica em Portugal está realmente em crise, recorrendo à análise deste tema através de inquéritos realizados ao público da região de Aveiro. A análise detalhada destes testemunhos revelou pontos condicionantes e outros menos relevantes sob vários aspetos das apresentações ao público dos concertos de música clássica. Sob esta perspetiva dos inquiridos aveirenses, sucedem algumas propostas no que respeita às implicações que estes resultados podem ter na forma como estes concertos são apresentados, mas também alguns aspetos relevantes no que concerne ao ensino artístico na área da música clássica.
This thesis proposes to identify whether or not classical music in Portugal is in crisis, analysing this issue through surveys of the public of Aveiro. A detailed analysis of these testimonies reveals varied opinions on the importance of different aspects of presentation to the audience. Following the results, proposals for concert presentation are given which are derived from the implications of these results, as well as commentary on their relevance to arts education in the classical music field.

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Costa, Anthony J. "A bibliography of chamber music and double concerti literature for oboe and clarinet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117551575.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center

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