Relevant bibliographies by topics / Orchestral music / Dissertations / Theses
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Dissertations / Theses on the topic 'Orchestral music'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Obregon, Luis J. "Cuauhtli (the Aztec eagle)." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227461849.

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2

Maidanik, Victoria. "Vicissitudes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37251.pdf.

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3

Wu, Yimin. "Looking for." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554512235019402.

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4

Weimer, Steven M. "Monoliths, an orchestral work." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1399624092.

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5

Chen, Ying-Lung Chen Yi. "Taiwan suite for orchestra." Diss., UMK access, 2007.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A dissertation in music composition." Typescript. Advisor: Chen Yi. Vita. Description based on contents viewed Nov. 20, 2007; title from "catalog record" of the print edition. Online version of the print edition.
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6

Frank, Robert J. 1961. "Temporal Distortions: a Composition for Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.

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Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant and diverse parts of the universe. The work is in three sections, connected without break. The first section, Space, emerges as a wide, expansive musical area where themes and gestures are freely presented. Gradually, these materials come into phase with one another, building to a climax. A transition follows, leading into the middle section, Wormholes, where the materials are frequently and suddenly transformed into other temporal elements. The third section, Comets, was inspired by the collision of the comet Shoemaker-Levy 9 with the planet Jupiter in July of 1993. Driving, underlying rhythms propel the thematic material through a series of statements which split into more and more substatements. This leads into a turbulent, explosive section and a final wormhole which returns to the opening material. Five basic temporal elements -- sustaining, aligned/non-repeating, aligned/repeating, non-aligned/repeating, and non-aligned/non-repeating -- are derived and demonstrated. Relationships between these elements are examined, and basic transformations are discussed. These elements serve as the basis for a theory of temporal analysis applicable to both metered and non-metered music. Chapter I presents this theory, and Chapter II discusses its application as a compositional method in Temporal Distortions.
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7

Au, Siu-ming Stefan. "Sinfonietta." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278459/.

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Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.
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8

Nakao, Maiko Mobberley James. "Music at will." Diss., UMK access, 2006.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
"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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9

Page, Isaac. "Orchestral Music of the Canadian Centennial." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586955294987414.

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10

Más-Arocas, Octavio. "Fearless Programming: Invigorating the American Orchestral Tradition through New Music." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467125862.

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11

Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
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12

Buck, Wayne A. "Triad fantasy : score and analysis /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131527718.pdf.

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13

Jane, Philip. "An Historical Survey of the Establishment of an Orchestral Tradition in Christchurch to 1939." Thesis, University of Canterbury. School of Music, 2009. http://hdl.handle.net/10092/3407.

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This dissertation is the first study devoted solely to the history of an orchestral tradition in Christchurch. Within a timeframe stretching from the beginning of the local settlement to the establishment of the first “national” orchestra in 1939, it provides detailed portrayals of all facets of amateur and professional orchestral activity. This includes the histories of all orchestral bodies, their membership, a chronology of concerts, repertoire, programme structure and critical reception. This dissertation explains the advance of orchestral tradition that is at times tentative and at times bold, until it is securely entrenched as a mainstream musical activity in Christchurch. A preliminary narration, which begins in 1857, ends in 1906 with the International Exhibition. This is then discussed as a landmark event for orchestral music in Christchurch. A series of case studies for the period of 1908 to 1939, covers each of the five major orchestral groups that flourished in this period. The case studies also include the footprints of development, the “incidental” music performed by the cinema orchestras, and the “studio only” performances of many broadcasting groups. The role played by minor orchestral groups as an “alternative” music culture is included, along with the impact of orchestras associated with visiting opera companies. The final section is a detailed analysis of the repertoire and programme construction, and a discussion of the people who played an influential role in the development of an orchestral tradition. Numerous tables and illustrations are provided. A number of appendices are also attached: a chronology of orchestral concerts in Christchurch; some significant orchestra personnel lists; an extensive set of source readings discussing the formation of a permanent orchestra; a chronology of orchestral activity for a selection of Christchurch musicians; a timeline of visiting opera companies, and a selection of concert programmes.
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14

Zikanov, Kirill. "Listening to Russian Orchestral Music, 1850-1870." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957348.

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The following dissertation combines reception history and technical analysis in a revisionist account of Russian orchestral music from 1850 to 1870. Through close readings of a wide range of reception materials, I recover little-known historical perspectives on this repertory, focusing particularly on ways in which Russian musicians engaged with transnational musical trends. These historical perspectives inform my analyses of compositions by Mikhail Glinka, Mily Balakirev, Alexander Dargomyzhsky, and Anton Rubinstein. In these analyses, I elucidate formal, harmonic, and orchestrational features that nineteenth-century Russian listeners found notable, such as Balakirev's disintegrating recapitulations, Dargomyzhsky's ubiquitous augmented triads, and Glinka's timbrai crescendos. This analytical approach allows me to reimagine this repertory as a variegated network of musical works, where each new composition is a reaction to existing ones, to domestic reception, and to pan-European aesthetic currents.

Chapter 1, entitled "Glinka's Three Models of Instrumental Music," traces the organicist discourse surrounding Glinka's orchestral fantasias, links the origins of this discourse to the writings of Adolf Bernhard Marx, and articulates the musical features that distinguish the three fantasias. Chapter 2, "Formal Disintegration in Balakirev's Overtures," portrays Balakirev's attempts to distinguish himself from Glinka as well as from established formal conventions of the time, primarily through creative reinterpretations of formal strategies employed by Robert Schumann, Hector Berlioz, and Franz Liszt. Chapter 3, "Satire,

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15

Morel, Jessica. "Orchestral Excerpts for Conductors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157567/.

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"Orchestral Excerpts for Conductors" is a compilation of sixty-five full score excerpts from the orchestral repertory arranged for string quartet and piano. The purpose of this collection is to provide conducting students with a pedagogical resource for learning how to handle technically challenging excerpts in orchestral music. This dissertation serves as a plan for the final publication of the excerpts book; while it includes the full score excerpts, it does not include the arrangements for string quartet and piano.
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16

Castonguay, Gerald Richard. "The orchestral music of Louis-Gabriel Guillemain /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371216286.

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Diss.--Philosophie--New Brunswick, N.J.--Rutgers Univ., 1975.
2 tomes réunis en 1 seul volume. Réunit en fin de volume, la symphonie en la majeur, op. 6, n °5, la symphonie en mi bémol majeur, op. 14, n °2 et le concertino en ré majeur, op. 7, n °3. Bibliogr. p. 405-430.
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17

Lousseief, Elias. "MahlerNet : Unbounded Orchestral Music with Neural Networks." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-264993.

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Modelling music with mathematical and statistical methods in general, and with neural networks in particular, has a long history and has been well explored in the last decades. Exactly when the first attempt at strictly systematic music took place is hard to say; some would say in the days of Mozart, others would say even earlier, but it is safe to say that the field of algorithmic composition has a long history. Even though composers have always had structure and rules as part of the writing process, implicitly or explicitly, following rules at a stricter level was well investigated in the middle of the 20th century at which point also the first music writing computer program based on mathematics was implemented. This work in computer science focuses on the history of musical composition with computers, also known as algorithmic composition, using machine learning and neural networks and consists of two parts: a literature survey covering in-depth the last decades in the field from which is drawn inspiration and experience to construct MahlerNet, a neural network based on the previous architectures MusicVAE, BALSTM, PerformanceRNN and BachProp, capable of modelling polyphonic symbolic music with up to 23 instruments. MahlerNet is a new architecture that uses a custom preprocessor with musical heuristics to normalize and filter the input and output files in MIDI format into a data representation that it uses for processing. MahlerNet, and its preprocessor, was written altogether for this project and produces music that clearly shows musical characteristics reminiscent of the data it was trained on, with some long-term structure, albeit not in the form of motives and themes.
Matematik och statistik i allmänhet, och maskininlärning och neurala nätverk i synnerhet, har sedan långt tillbaka använts för att modellera musik med en utveckling som kulminerat under de senaste decennierna. Exakt vid vilken historisk tidpunkt som musikalisk komposition för första gången tillämpades med strikt systematiska regler är svårt att säga; vissa skulle hävda att det skedde under Mozarts dagar, andra att det skedde redan långt tidigare. Oavsett vilket, innebär det att systematisk komposition är en företeelse med lång historia. Även om kompositörer i alla tider följt strukturer och regler, medvetet eller ej, som en del av kompositionsprocessen började man under 1900-talets mitt att göra detta i högre utsträckning och det var också då som de första programmen för musikalisk komposition, baserade på matematik, kom till. Den här uppsatsen i datateknik behandlar hur musik historiskt har komponerats med hjälp av datorer, ett område som också är känt som algoritmisk komposition. Uppsatsens fokus ligger på användning av maskininlärning och neurala nätverk och består av två delar: en litteraturstudie som i hög detalj behandlar utvecklingen under de senaste decennierna från vilken tas inspiration och erfarenheter för att konstruera MahlerNet, ett neuralt nätverk baserat på de tidigare modellerna MusicVAE, BALSTM, PerformanceRNN och BachProp. MahlerNet kan modellera polyfon musik med upp till 23 instrument och är en ny arkitektur som kommer tillsammans med en egen preprocessor som använder heuristiker från musikteori för att normalisera och filtrera data i MIDI-format till en intern representation. MahlerNet, och dess preprocessor, är helt och hållet implementerade för detta arbete och kan komponera musik som tydligt uppvisar egenskaper från den musik som nätverket tränats på. En viss kontinuitet finns i den skapade musiken även om det inte är i form av konkreta teman och motiv.
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18

Ponchione, Cayenna R. "Tracking authorship and creativity in orchestral performance." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:038d450e-f009-4ab0-879f-71d8f77bd77b.

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This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.
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19

Lynch, Graham Michael. "Ph.D. in composition, consisting of 7 works and a commentary on them." Thesis, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314167.

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20

Real, Jonicler. "Estudo e reflexão sobre repertorio para orquestra jovem." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285018.

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Orientador: Eduardo Augusto Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T17:29:18Z (GMT). No. of bitstreams: 1 Real_Jonicler_M.pdf: 1778842 bytes, checksum: 2ad9b098a120db023229429c57456b35 (MD5) Previous issue date: 2003
Resumo: Este estudo nos leva a uma Reflexão sobre Repertório para Orquestra Jovem enfatizando no futuro a execução de obras completas. No início uma orquestra jovem toca arranjos ou trechos facilitados do repertório sinfônico, solidificando e desenvolvendo repertório e técnica buscando ao mesmo tempo crescimento de sua maturidade artística. A partir de um certo nível de conhecimentos teórico obtidos e do desenvolvimento técnico adquirido, a busca de novos desafios estimula a necessidade de se abordar um novo repertório com obras executadas na sua íntegra. O repertório sinfônico disponível para grupos jovens é pequeno e a literatura apresentada se restringe, muitas vezes, às experiências pessoais de cada dirigente e as limitações do seu grupo. Os diferentes períodos musicais abordados se remetem ao ensejo de capacitação do estudante, fornecendo um acréscimo substancial em seus conhecimentos técnicos e teóricos. Tomando como base o trabalho desenvolvido junto a Orquestra Filarmônica Jovem da ASSEC na cidade de Sorocaba, procuramos mostrar o caminho trilhado desde o seu início, executando arranjos, "Andantes" e "Minuetos" de diferentes sinfonias. Percebendo o momento de transição, tenta-se definir o novo objetivo a que se quer chegar. Propomos algumas opções quanto ao repertório, com suas classificações, esperando ter contribuído de maneira modesta para o catálogo de música para orquestras jovens e para ajudar os regentes nas suas considerações na busca de um repertório alternativo
Abstract: This study is a reflection on the various aspects of the music repertoire for Youth Orchestras in their preparation for future performances of orchestral masterpieces. In its early stages a young orchestra generally plays a repertoire consisting of mostly easy pieces or arranged excerpts of the standard symphonic literature in order to develop technique, build repertoire and achieve musical growth. Once a certain level of competence is reached new challenges stimulate the desire to perform more complex works either in their original form or in their complete version. The music literature available for young groups is usually small and the works performed tend to reflect personal tastes or particular experiences of the conductor and the limitations of his group. The various musical examples discussed here present a kind of challenge that allows for artistic growth in both the theoretical and practical aspects of orchestral playing through the performance of music of the different style periods. Inspired by our work with the Youth Philharmonic Orchestra of Sorocaba (sponsored by ASSEC - Associação de Eventos Culturais) we have tried to show the orchestra's development from its beginnings, when it used to play mostly arrangements of slow movements or ¿minuets" from standard symphonies to a more mature level of performance. We have also proposed a few repertoire alternatives, graded by levels of difficulty, hoping to have made a modest contribution to the catalogue of youth symphony orchestra and as a way to help conductors in their considerations while approaching alternative repertoire
Mestrado
Mestre em Artes
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21

Hagan, Kerry Lynda. "Orchestra /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3169316.

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Thesis (Ph. D.)--University of California, San Diego, 2005.
Music for orchestra. Vita: P. vii. Duration: ca. 20:00. Includes reel tape containing a recorded performance of the work in 2004 by the La Jolla Civic/University Symphony Orchestra, conducted by Harvey Sollberger.
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22

Johnson, Stephen. "Hecate nocturne : for large orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.

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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.
The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.
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23

Kôhei, Mukai Mobberley James. "Mugen for orchestra." Diss., UMK access, 2005.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2005.
"A disseration 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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24

Chang, Yuli 1982. "Poetic afterthought : seven pieces for orchestra." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.

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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.
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García, de la Torre Mauricio 1976. "Cachalote." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.

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Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the appearance and ordering of the work's main gestures, and articulates the overall structure.
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Chong, Lok-Shing. "The Last Seven Words." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500283/.

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The Last Seven Words is an orchestral piece with double woodwind, double brass, and two sets of timpani. The duration of the work is seventeen minutes. The forty-six pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to write an orchestra piece with a single scale and seven rhythmic patterns.
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Fu, Yuen-Wai. "Designs." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500509/.

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Designs is an algorithmic composition for small orchestra. The main compositional process used involves the realization and implementation of various musical algorithms discussed in the book Composition with Pitch-Classes by theorist/composer Robert Morris.
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Carson, Benjamin Leeds. "The self and its pleasures : a collection of music for piano and music for orchestra /." 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?p3013702.

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29

Lindblom, Shari. "Audience connectivity in orchestral performances." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/20533/1/Shari_Lindblom_Thesis.pdf.

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With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience interaction and ways of emotional engagement 2. Artistic aspects of audience connection such as the impact of poly-stylistic genres, blend of instruments and sounds and the importance of inter-sensory perception using visuals, theatre and music 3. Economic aspects of audience connection such as networking with business partnerships, impact of branding and marketing and the importance of distribution channels Audience reactions are central to this approach. Audiences from a variety of existing orchestral models have been researched through case studies, interviews, surveys, focus groups and participant observation. An orchestra, formed specifically for this project, performed to selected audiences and at the Brisbane Festival of Arts in 2006 and is now achieving commercialisation. The style of this orchestra is characterised by audience and performer interactivity, theatrical staging, visuals, spontaneity and less formality. Research has been conducted on this orchestral model, with contributions from the musicians, directors, producers, promoters and audiences. The research hypothesis proposes that a greater connectivity with the audience results in a more sustainable product, where sustainability is indicated by the orchestras’ ability to generate a sufficient amount of box office revenue and sponsorship. A variety of different models are considered which demonstrate orchestras that can achieve their mission of satisfying their audience, while being financial viable. The findings from the literature and the case studies clearly demonstrate the importance of many elements in the sustainability framework to achieve a greater level of audience connection with the orchestra.
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Lindblom, Shari. "Audience connectivity in orchestral performances." Queensland University of Technology, 2009. http://eprints.qut.edu.au/20533/.

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With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience interaction and ways of emotional engagement 2. Artistic aspects of audience connection such as the impact of poly-stylistic genres, blend of instruments and sounds and the importance of inter-sensory perception using visuals, theatre and music 3. Economic aspects of audience connection such as networking with business partnerships, impact of branding and marketing and the importance of distribution channels Audience reactions are central to this approach. Audiences from a variety of existing orchestral models have been researched through case studies, interviews, surveys, focus groups and participant observation. An orchestra, formed specifically for this project, performed to selected audiences and at the Brisbane Festival of Arts in 2006 and is now achieving commercialisation. The style of this orchestra is characterised by audience and performer interactivity, theatrical staging, visuals, spontaneity and less formality. Research has been conducted on this orchestral model, with contributions from the musicians, directors, producers, promoters and audiences. The research hypothesis proposes that a greater connectivity with the audience results in a more sustainable product, where sustainability is indicated by the orchestras’ ability to generate a sufficient amount of box office revenue and sponsorship. A variety of different models are considered which demonstrate orchestras that can achieve their mission of satisfying their audience, while being financial viable. The findings from the literature and the case studies clearly demonstrate the importance of many elements in the sustainability framework to achieve a greater level of audience connection with the orchestra.
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31

Casallas, Fernandez Jose Andres. "Making Music with a guitar orchestra : Motivation and friendship." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3266.

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How can I, as a leader, keep the motivation of the participants in a group?   When I started to write this report, I was focused on, how a group could affect the participants motivation of the participants, but little by little I realized that the biggest motivation came from that this group affected mostly my own motivationmyself. The guitar orchestra has given me the opportunity to learn and it has given another sense to my knowledge as musician and teacher. Analysing what I have done with the guitar orchestra has awakened more questions than answers. What exactly did I do? Why did I do it? Was it really effective?   This written part of my project at KMH describes how, together with my colleagues, we have organized an orchestra of guitars in Avonia music institute based in Espoo, Finland and how this group and my own motivation have affected the motivation of the participants.
Making Music with a guitar orchestra
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32

Jang, Sun-Hee Chen Yi. "The creation for orchestra." Diss., UMK access, 2006.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
"A dissertation in music composition." Advisor: Chen Yi. Duration: 9:45. Typescript. Vita. Title from "catalog record" of the print edition. Online version of the print ediiton.
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33

Río, Pareja José Manuel. "Ornamentum : for large orchestra /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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34

Strand, Kenneth Allan. "Big prelude : for orchestra /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/9166.

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35

Johanson, Thomas. "Castle symphony : for orchestra /." Online version, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=329&CISOBOX=1&REC=9.

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36

Dribus, John Alexander. "Breaking Through: A Composition for Symphony Orchestra." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/dribus%5Fjohn%5Falexander/index.htm.

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37

Wright, Allan. "Frank Zappa's orchestral works art music or "bogus pomp"? /." Connect to e-thesis, 2007. http://theses.gla.ac.uk/492/.

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38

Dorado, Suela Esther. "The connection of the emotions : An inside look at the orchestral interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4068.

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As musicians, our main goal when we perform a piece is to transmit something to the audience: emotion. And to get this emotion also while performing. It is our way to communicate. When we are soloists, we make our own interpretation of the piece to perform, and the cycle that the music does is from the composer, trough us, and then the audience. But what happens when we are in the orchestra? In an orchestra, we are 100 musicians, each one a very different type of performer, each one with their own mentality, ideas, minds, etc. And also, we have to add a very important level in the music cycle here: the conductor. When we perform a piece with the orchestra, we do not play our own interpretation, but the one of the conductor. So, what happens when you play an interpretation that is not yours among so many other musicians? How do we achieve and transmit this emotion? How can we work this out? Does the relationship between the musicians affects the result? To answer all these questions, I have based my thesis work in two basic pillars: first, literature and documentaries about the emotion in the music and its relation to the orchestral world; and second, a series of interviews with different professional orchestra musicians who have helped me to clarify all these interrogations and which have led me into a conclusion about how the view about these topics is from inside the orchestra. I have preferred to develop my thesis more like an essay to also express my opinion about these subjects we are talking about.

A. Honegger - Danse de la chèvre

A. Jolivet - Suite en concert

       I. Moderé

       II. Stabile

       III. Hardiment

       IV. Calme - Véloce - Apaisé

Percussion: Simon Landqvist, Elias Gustafsson, Sabina Šehović, Ivar Koij.

Conductor: Daniel Berg

C. Reinecke - Flute concerto

      I. Allegro molto moderato

      II. Lento e mesto

      III. Moderato – In tempo animato – Tempo I – Più mosso – Più lentomaestoso

Piano: Georg Öquist

F. Doppler - Andante and rondo

Piano: Georg Öquist

Flute: Rebecka Kaufman

Sändningen av examenskonserten startar efter ca 5 minuter.

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39

Hill, Adam. "After the dawn out comes the sun /." Online version, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=339&CISOBOX=1&REC=4.

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40

Campbell, David Hal. "Terminal /." Online version, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=348&CISOBOX=1&REC=19.

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41

Morita, Yumiko. "Echoes of a wave /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236634.

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42

Hartman, Lee Chen Yi. "Beowulf triptych." Diss., UMK access, 2005.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2005.
"A thesis in music composition." Advisor: Chen Yi. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 23, 2006. Online version of the print edition.
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43

Scott, Timothy James. "Volition." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1147465683.

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44

Peringer, Patrick. "Awake." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166062315.

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45

Cureton, Matthew Alan Chen Yi. "Continuum." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A single movement composition for orchestra"--ℓ ii. "A thesis in music composition." Typescript. Advisor: Chen Yi. Vita. Description based on contents viewed Nov. 12, 2007; title from "catalog record" of the print edition. Online version of the print edition.
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46

Cheung, Pui-shan Chen Yi. "Dai pai dong for orchestra." Diss., UMK access, 2007.

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Dissertation (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A dissertation in music composition." Typescript. Advisor: Chen Yi. 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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47

Corbett, Ian Rudy Paul. ""SWANG!" for symphonic wind orchestra." Diss., UMK access, 2005.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2005.
"A dissertation in music composition." Advisor: Paul Rudy. 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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48

Hu, Xiao-ou Chen Yi. "A light far away." 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: Chen Yi. 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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49

Lackey, William Joseph Mobberley James. "Reflections of memories past for orchestra." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A thesis in music composition." Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.
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50

Švast, Maja Mays Walter. "Intertwinings for full orchestra a composition /." Diss., A link to full text of this thesis in SOAR, 2007. http://soar.wichita.edu/dspace/handle/10057/1177.

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Thesis (M.M.)--Wichita State University, College of Fine Arts, Dept. of Music.
"May 2007." Title from PDF title page (viewed Dec. 29, 2007). Thesis adviser: Walter Mays. Includes bibliographical references (leaves 187-203).
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