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Dissertations / Theses on the topic 'Instrumental ensembles'

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Published: 4 June 2021
Last updated: 2 March 2023

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1

Zagorski, Marcus. "And drown the wakeful anguish of the soul." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ43989.pdf.

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2

Zajicek, Daniel J. "A rhetorical guide to Ebb." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/zajicek%5Fdaniel/index.htm.

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Thesis (M.M.)--University of North Texas, 2006.
For flute, oboe, clarinet, contrabassoon, horn , tuba, percussion (2 players), 2 violins, viola, cello, double bass, 1 laptop computer, and 2 or more loudspeakers. System requirements: Adobe Acrobat Reader. Duration: 10:00. Includes performance notes by the composer (p. 1-23). Includes bibliographical references (p. 23-24).
3

Levine, Josh Levine Josh Levine Josh Levine Josh. "Between image, process, and memory /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049670.

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4

Hindman, Heather. "Macula : for 10 instruments." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116068.

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Macula is a two-movement piece of music written for a mixed ensemble often instruments. The piece explores an aspect of visual perception in which an object seemingly becomes both larger and more detailed as it draws closer. This becomes a metaphor for the structure of the piece, where materials are gradually transformed and re-contextualized to suggest the notion of continually zooming in. The accompanying analytical paper gives a general overview of the procedures and techniques used to organize and compose the piece.
5

Wannamaker, Robert Alexander. "Grain : for 17 instruments /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236636.

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6

Mascarenhas, João Marcos Gomes. "The three Americas." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4558.

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Thesis (M.M.)--University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 21, 2009) Includes bibliographical references.
7

Mercer, Christopher Alan. "Untitled : for 10 players /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3077798.

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8

Kronengold, Charles. "Tamburlaine : for twenty three players /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099932.

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Thesis (Ph. D.)--University of California, San Diego, 2003.
Vita. For flute, oboe, 2 clarinets, 2 horns, 2 trumpets, trombone, tuba, 2 percussionists, 2 pianos, harp, 4 violins, viola, violoncello, and 2 double basses. Performance instructions precede score. Also available on the World Wide Web. (Access restricted to UC campuses).
9

Sudol, Jacob David. "Time fixtures." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101832.

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Time Fixtures, a composition for chamber ensemble and electronics, attempts to provide some compelling perspectives on fixing a conception of time. The electronics feature six speakers placed symmetrically around the audience that broadcast live electronic transformations and pre-constructed audio files. The ensemble consists of eleven players: flute (doubling alto flute), oboe, B♭ clarinet (doubling bass clarinet), horn, percussion, harp, piano, MIDI keyboard (doubling crotale/tangkas placed out of sight of the audience), violin, viola, and violoncello. Performance also requires a conductor as well as a technician who operates a Max/MSP performance patch and the mixing board.
10

Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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11

Ng, King-pan, and 伍敬彬. "Composing for chinese instrumental ensemble : a practitioner's perspective." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/197560.

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This thesis aims to offer a practitioner’s perspective of composition for the Chinese instrumental ensemble of the twenty-first century. Chinese instrumental music composition has appeared in the concert hall in China since the beginning of the twentieth century. Modeled on western classical music, modern Chinese instrumental music has undergone a series of development and reformation that aimed to merge the Chinese and western musical ideas and techniques. The very role of the composer and the notion of concert-hall practice were being emphasized, whereas various ingrained characters of traditional instruments, such as music-making conventions, instrumentation preferences, and certain ideology behind timbre, were overshadowed. Also attributed to such nature of Chinese instrumental music is that composers and performers are often in a quandary when juggling Chinese instrumental music conventions with a mindset framed by western classical music. Furthermore, in the current globalized/globalizing culture, Chinese instrumental composition is propelled by manifold musical influences. I intend to share the insight and to document the first-hand information acquired through the composition processes from a composer’s perspective. My sharing and documentation focus on the issues of incorporating idiomatic music materials from various Chinese instruments into original compositions, as well as on several matters concerning rehearsals and performances. Including six chapters, this thesis anthologizes six original works and discusses the composition strategies relevant to the distinctive instrumental combination of each. Chapter 1 presents an adaptation of a western symphonic poem for modern Chinese orchestra. Chapters 2 and 3 illustrate respectively a composition for a large Chinese wind and percussion ensemble and a composition for a large plucked-string ensemble. Chapters 4 and 5 cover two pieces of contrasting instrumentation, namely a mixed ensemble of fourteen instruments and a huqin sextet. Chapter 6 is about a multimedia composition with electronic soundtrack and installation art for seven players.
published_or_final_version
Music
Doctoral
Doctor of Philosophy
12

Marcho, Trevor K. "Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental Ensembles." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593085683940817.

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13

Daigle, Elise. "Examining Music Ensemble Recruitment and Retention through Student Persistence into College Performing Ensembles." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523523995130136.

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14

Quilling, Michael Lance. "Applying rhythm teaching methods in an instrumental ensemble." Kansas State University, 2017. http://hdl.handle.net/2097/38162.

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Master of Music
School of Music, Theatre, and Dance
Frederick Burrack
Finding a systematic process for teaching rhythms in the instrumental setting has presented its own set of challenges. Numerous factors such as time constraints, engagement, motivation, and various degrees of proficiency amongst the students can all play a part in the overall success of the group. This video presentation includes a teaching demonstration utilizing techniques acquired from MU680-A (Advanced Rehearsal Techniques). Using rhythm readiness sheets modeled by Dr. Jay Gilbert and specific rehearsal techniques taught by Dr. Frank Tracz, this presentation exhibits a process for teaching rhythms that increases retention of rhythmic patterns in a way that enables all students to engage in the learning process simultaneously. The lesson plan is explained in detail and the routine was repeated daily and eventually implemented into the twelve-minute warmup portion of the rehearsal. After three weeks the students were recorded and asked to reflect on their progression. A noticeable change was observed after the lesson was completed and applied to the piece. In addition, the method also revealed several hidden learning outcomes, such as facilitating independence as musicians, utilizing listening skills to distinguish how various patterns fit within an established pulse, and increasing student motivation by creating positive rehearsals with attainable goals. The result was a performance showcasing the growth of the ensemble’s overall musicianship. The rhythm readiness sheet and concept that was utilized in the teaching demonstration is credited to Dr. Jay Gilbert. The rhythm readiness sheet is not copyrighted or published, however expressed written consent was granted by Dr. Gilbert and can be found in the Appendix.
15

Bolton, Rose A. "Incidental music of my mind." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21496.

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Instrumentation: 1*(1.=picc.)-1-2*(2.-Bb+bass cl.)-1 / 1-1-1-0 / 2 perc., 1 keyb. (piano+celesta) / 1-1-1-1-1
The work is approximately 14 minutes long, and consists of six movements which make up a series of musical tableaux, placing greater emphasis on their contrasting characters instead of on gradual and continuous development of material. These movements take their inspiration from activities or situations encountered in everyday life, thus revisiting the old tradition of "character pieces" as encountered, for example, in the music of many composers such as Schumann, Grieg or Mussorgsky.
It is followed by an analysis which examines the harmonic syntax and the language of the work as it relates to the program suggested by the title.
16

Mariner, Justin. "Mile end believing." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23978.

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Mile End Believing is a composition for eight woodwinds, four brass, and two percussionists, with a duration of approximately 13$ sp prime40 sp{ prime prime}.$ The inspiration for the piece is a Montreal neighbourhood whose cultural diversity suggested a number of short sections which, although contrasting, are linked by the nature of their relationship to one another. The eight main sections all have the same duration, and some sections are recapitulated towards the end of the work.
17

Talpash, Andriy. ""Queezinart---hocket in a blender" for chamber ensemble (Original composition)." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29954.

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Queezinart---hocket in a blender is a composition for five woodwinds, five brass, percussion (two players), piano, two violins, viola, cello and double bass, with a duration of approximately 14 minutes. There are six main sections in this piece. The work is structured so that musical ideas flow smoothly and gradually between sections. Also, the musical events are organized in such a way that the perceived, experienced time is manipulated and distorted, through varying activity and density of musical events.
18

Mariner, Justin. "Apparent motions." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84209.

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Apparent Motions is an original composition for an ensemble of fifteen musicians consisting of percussion, harp, keyboards, and stringed instruments. This dissertation is comprised of the composition as well as a written analysis of the composition. The analysis presents the most important technical features of the piece, including pitch organization, counterpoint, and motivic elaboration. Techniques are related to the overall objectives of the work, which involve the composer's personal approach to musical time. The particular treatment of time in the piece results from the coexistence of linear/developmental organization along with cyclical organization. The cyclical features intentionally interfere with the implication of progress by the linear/developmental features. The work's temporal strategy is analyzed in relation to theories regarding musical time put forward by Jonathan Kramer. 1 The primary conclusion reached is that the piece makes use of Kramer's "multiply-directed linear time."
1Jonathan Kramer, The Time of Music: New Meanings, New Temporalities, New Listening Strategies (New York: Schirmer, 1988).
19

Stecher, David. "Germinal ideas and processes with Plies (2002) a chamber work for eleven players /." connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/stecher%5Fdavid/index.htm.

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Thesis (M.M.)--University of North Texas, 2002.
For flute, clarinet, alto saxophone, trumpet, trombone, percussion (2 players), violin, viola, violoncello and contrabass. Duration: 20:00. Includes bibliographical references (p. 39).
20

Power, Ian. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464822.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 13, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF version of the thesis.
21

Carrick, Richard David. "The fall : a multi-media work for three chamber ensembles, three conductors, and large screen video /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3015908.

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Thesis (Ph. D.)--University of California, San Diego, 2001.
Vita. For flute (doubling piccolo), oboe, E♭ clarinet (doubling B♭ clarinet), trumpet, trombone, piano, organ (doubling synthesizer), 2 violins, viola, violoncello, and double bass, with 3 conductors and video projection. Includes performance instructions and frames from the video printed preceding the score.
22

Tchamni, Avi. "Press /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3096413.

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23

Anderson, Andrew E. (Andrew Edwin). "Hailstones and Birdcages for Wind Ensemble." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500256/.

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Hailstones and Birdcages is a composition of approximately thirteen minutes' duration and is scored for two flutes and piccolo, two oboes and english horn, three Eb clarinets, E clarinete, bass clarinet, two bassoons, two Eb alto saxophones, Bb tenor saxophone, three Bb trumpets, four F horns, three trombones, euphonium, two tubas, and three percussionists. Four instruments--one each of flute, oboe, Bb clarinet, and trombone--are used in concertante like fashion, and there are prominent solo passages for the first bassoon, as well. The work is a single movement in three sections, fast - slow - fast, with ritornello. and employs a free use of the total chromatic. Technically, the work is within the capabilities of an above-average high school or average college wind ensemble
24

O'Connor, Alexander J. "A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group Playing." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617960102315298.

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25

Kunaeva, Teresa V. "Music Masters: Facilitating community music participation by older adults in instrumental ensembles." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/390019.

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This thesis examined music participation and non-participation by older adults in Queensland, Australia. It explored why relatively few older adults take up or resume playing a musical instrument despite the reported benefits of participation in community music ensembles. It also sought to better understand the constraints faced by active, older-adult musicians, and how these constraints could be overcome to fulfil music motivations. Specifically, the thesis sought to address the following research question: How can participation by older adults in community music instrumental ensembles be better facilitated in order to initiate, promote, and sustain appropriate, engaging, and dynamic music-making experiences? Over the past two decades, increasing attention has been given to global ageing, evoking UN and government reports that address this demographic transformation. In 2010, the Queensland Government’s strategy Positively Ageless was followed in 2011 by the Brisbane City Council’s program of activities for seniors Growing Older and Living Dangerously. In this program, sporting or other non-music activities appear to take priority over music activities even though participation in music making has shown to provide cognitive, physical, and social benefits that improve the quality of life of older adults. This mixed methods research began with an online survey that investigated the leisure choices of older adults and the perceived barriers to community music participation. Motivations for and constraints to music learning and engagement were then explored in interviews with older-adult musicians from music ensembles in South East Queensland. Following this was a focus on the intrapersonal, structural, and interpersonal constraints to music participation. The research findings led to the development of the MASTER framework, which recommends that activities are made musical, attractive, social, timely, educational, and regulated. This framework is offered as a way to better facilitate community music activities for older adults in Queensland, but it could be applied to other national and international participatory music settings. With increasing numbers of baby boomers now entering retirement, this research has implications for promoting healthy ageing, and for creating musically vibrant communities not only in Queensland but across geographic boundaries.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Wilson, Nathan. "Heartbroken glass in the Sea of Tranquillity : a folio of compositions." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28028.

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The harmonic, rhythmic and timbral revolutions that have characterised musical composition throughout the twentieth century have enabled composers to continually define new methods of musical organisation and thus new means of artistic expression. HeartBroken Glass In The Sea Of Tranquillity is a folio of eleven musical compositions for mixed instrumentation in which musical organisation is influenced by literature, visual art, the calendar, natural phenomena and dream, astronomy, chemistry and physics, technological concepts and cartography. The research supporting these compositions demonstrates the parallels that exist between the elements of musical composition and the concepts that influence the works of this folio. Essential to the folio is integration and progression, concepts that arise from one work transfer and evolve into another. The folio is presented in two volumes, the first of which presents the scores of the eleven compositions with program notes and a compact disc recording of selected works. The second is a volume of analytical notes that considers the theoretical and technical aspects of the submitted compositions with reference to a number of twentieth century composers and how their particular approaches to harmonic, rhythmic and timbral logic have been influential during the preparation of the folio. An additional volume containing an A3 reproduction of the score for Hear/Broken Glass In The Sea of Serenity for three chamber orchestras has been submitted for ease of reading.
27

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

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This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.
28

Lizée, Nicole. "RPM : for large ensemble and solo turntablist." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32896.

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The focal point of the work is the turntable and DJ (or Disk Jockey; one who controls the turntables). This concept not only manifests itself through the utilization of actual turntables, but also much of the acoustic material performed by the ensemble consists of "metaphoric turntables". These are contrasting layers of sound superposed over one another that are played by small groups of specific instruments within the larger ensemble. These instrumental groups simulate the sonorities generated through turntable manipulation such as warping, oscillations, crossfading, transforming, and numerous scratching techniques. The DJ (sometimes referred to as a turntablist) employs many techniques, articulations, and effects that are notated and explained in the accompanying analysis.
29

Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.

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

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Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?
As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.
31

Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.
32

Radford, Laurie 1958. "The crying wave : (1996)." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34535.

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The Crying Wave is a twenty minute music composition for an amplified ensemble of fifteen instruments combined with a prerecorded electroacoustic audio component and live signal processing. The composition explores the use of fundamental electroacoustic music techniques such as additive, subtractive, and granular synthesis as models for the creation and manipulation of materials and structure in both the instrumental and electroacoustic aspects of the work. Two series of harmonies underlie the piece and serve as both harmonic and melodic resources. Procedures including additive/subtractive durations, palindrome and canon, the Fibonacci series, and antiphonal alternation of instrumental groups are used throughout the composition to provide structural coherence. The MIDI data processing software Max is employed to control a number of aspects of the work during performance, including playback of prerecorded electroacoustic audio segments on compact disc, changes of effects algorithms for digital signal processing modules, and the generation of a click track for synchronization. The following dissertation presents an analysis of the work in terms of the aforementioned concepts and techniques.
33

Whitworth, Clifford K. (Clifford Kirk). "Mobiles." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278749/.

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Mobiles is a composition for an ensemble consisting of 12 instruments. The piece, in one movement, incorporates intuition, chance, and twelve tone techniques and reflects the relationship between motion and rest or tension and release. The structure is modeled according to principles of growth and decay, starting off slowly, building, and then dying away. Much of the material is inspired by mental images invoked from modern theories concerning chaos. Mobiles' character stems from the principal use of two motives, the chaos motif and the echo motif. Primarily, the chaos motif is representative of a state of motion while the echo motif represents a state of rest. Mobile architecture is usually characteristic of symmetry, balance, and proportion, but because of uncertainty in a natural environment, this proportion often falls short of a perfect symmetrical balance as in the case of a crystal or a fractal design. It is this kind of architecture that Mobiles portrays in its form and developmental process.
34

Johnson, Allison Adah Johnson Allison Adah Johnson Allison Adah Johnson Allison Adah. "Transmission/translation/transgression /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099912.

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Thesis (Ph. D.)--University of California, San Diego, 2003.
Vita. "Three related compositions written for string quartet, small ensemble (soprano, violin, viola, cello, flute, clarinet, piano) and percussion duo"--P. viii; 3rd work an open form composition. Also available on the World Wide Web. (Access restricted to UC campuses).
35

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

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This work was written for ten performers plus tape. The instruments are divided into two groups, each with a distinct personality: flute, clarinet, horn, violin and cello in an "orderly" group, and three percussionists, piano, doublebass and tape in a "chaotic" group. The first two sections introduce these groups separately. The third section returns to the order group, which begins to show a chaotic influence. The fourth section, for tape alone, echoes the first in its stability. The final section, for the entire live ensemble, fuses the two groups into a texture which is not entirely chaotic, nor entirely orderly.
36

Zajicek, Daniel James. "A Rhetorical Guide to Ebb." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5236/.

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In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art, and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of those influences, the boxes of the American artist Joseph Cornell played a particularly important role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay, instead of being driven by a single thesis, involves the creation of conceptual boxes. These conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers Iannis Xenakis and Gérard Grisey. In addition, a time line documenting the stages in Ebb's creation is included.
37

Mui, Kwong-chiu. "Exploration in new music portfolio of compositions and analysis /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B43894574.

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Mui, Kwong-chiu Tan Dun Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Exploration in new music : portfolio of compositions and analysis /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22132016.

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Thesis (M. Phil.)--University of Hong Kong, 2001.
Two sets of recordings included, each in its own container. The first work is for string quartet; the second for bangdi, soprano sheng, yangqin, pipa, guzheng, erhu, gehu and percussion; the third for harmonica quintet, sheng, harp, piano and percussion. "Symphonic poem-Genesis" is for orchestra with piano and celesta. "Ghost opera" is for string quartet and pipa, with water, stones, paper and metal. Includes bibliographical references.
39

Stecher, David. "Germinal Ideas and Processes within plies (2002): A Chamber Work for Eleven Players." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3309/.

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The piece is a twenty minute work discoursing the integration and eventual dissolution of two separate musical strands. The pitch material of each strand is determined from synthetic scales whose intervalic content duplicates at the following intervals: Perfect 12th, Diminished 12th, Minor 9th, Perfect 8ve, and Major 7th. A proportional means of temporal compression is generated through the use of the factor, 11/15 (e.g. Event 2 is 11/15 the duration of Event 1). Various elements of jazz music informed the construction of plies, including the instrumentation of the ensemble and the means by which the performers interact throughout the piece. Internal cueing and performer decisions are meant to eliminate the need of a conductor in favor of increased interpretive freedom by the performers.
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Deyoe, Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg. "A simultaneity of conflicting modes of expression." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453674.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.
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Hall, Alec Hall Alec Hall Alec Hall Alec. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464967.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 11, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.
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梅廣釗 and Kwong-chiu Mui. "Exploration in new music: portfolio of compositions and analysis." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894574.

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43

Sutch, Mark. "Garden of Eden." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc501204/.

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The Garden Of Eden is a ballet for four instrumental quintets: brass, woodwind, string, and percussion. Each ensemble is associated with one of four dancers: God, Adam, Eve, -and the Serpent, respectively. The duration of this ballet is approximately sixteen minutes and is divided into three parts depicting (1) the creation of the world and Adam; (2) the creation of Eve-and the warning about the tree of knowledge; and (3) the Serpent's temptation of the main characters, as well as their subsequent banishment from the garden by God. One of my reasons for composing this work was to answer an important question: how to control musical motion and emotion. Since ballet incorporates both motion in its choreography and emotion in its program, it provided a perfect medium in which to work.
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Wilson, Nathan. "The structural use of colour in the music of Michael Whiticker : an analytical study." Thesis, The University of Sydney, 2000. https://hdl.handle.net/2123/28913.

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This dissertation is an exploration of the musical language of Australian composer Michael Whiticker (b. 1954) with specific reference to his use of instrumental colour as a unifying compositional force. Beginning with Robert Erickson’s book Sound Structure ofMusic as a theoretical base this analytical study examines the role sound plays in the development of Whiticker’s compositional language: that timbre, the unique sounds of the musical instruments themselves are a major structural motivation, more so than pitch or duration. The pieces selected for study are: Quidong (1983) for oboe/cor anglais, guitar and percussion, Ad Parnassum (1991) for flute, mandolin, guitar, harp, percussion, violin, viola and double bass, Planggé (1987) for percussion quartet, Min—amé (1988) for alto flute, bass clarinet and piano, and Winamin (1986) for violin and piano.
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Dregalia, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1272374147.

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Dregalla, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784494807576.

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Thorvaldsdottir, Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. "Music and ideas." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453657.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc contains sound files of recordings of the musical compositions. The 1st work for 13 instruments; 2nd for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns; 3rd for voice, 6 stethoscopes, and computer which manipulates sounds picked up by the stethoscopes. Title from first page of PDF file (viewed July 11, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 137.
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Rook, Michael. "Mosaik : für Ensemble /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11282.

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Thesis (D. Mus. Arts)--University of Washington, 2003.
For flute (piccolo), alto flute (bass flute), 2 clarinets, French horn, trumpet, 2 percussionists (desk, rubber stamp, stamp pad, oil barrel, large piece of sheet metal, tam-tam, cymbal, sizzle cymbal, thunder sheet, metal beam (piece of railroad track), amplified accordion, 2 pianos, electric guitar (fretless), violin, violoncello. Vita. Duration: 10 min., 20 sec.
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Jones, Lloyd Edward Walls Kimberly C. "Instrumental jazz ensemble programs in Alabama high schools." Auburn, Ala., 2009. http://hdl.handle.net/10415/2023.

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Moss, Bruce Burbank. "Differential approaches to rehearsing and conducting an instrumental ensemble." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225994055.

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