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Dissertations / Theses on the topic 'Piano trios – Scores and parts'
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1
Chan, Sze-rok, and 陳詩諾. "Inspired by the Hindu tradition: compositionsand reflections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.
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Cheng, Yu-sum Anthony, and 鄭汝森. "An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.
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3
Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.
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4
Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.
Full textAbstract:
My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.
5
"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.
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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
6
"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.
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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.
Tang Lok-yin.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.
Librettos (1st work) in English ; abstracts in English and Chinese.
Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"
Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas
Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics
Chapter Composition 4 --- Playing Game for Orchestra
Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra
Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra
7
"A portfolio of original composition." 1997. http://library.cuhk.edu.hk/record=b5889442.
Full textAbstract:
by Lee, Lo Ping Arthur.Thesis (M.Mus.)--Chinese University of Hong Kong, 1997.
Chapter (1) --- "Two Bagatelles for Violin, Cello and Piano (1995)"
Chapter (2) --- "Three Scenes for Flute, Oboe, Clarinet in B-flat, Horn in F, Bassoon and Piano (1996)"
Chapter (I) --- "Introspection (for Flute, Oboe, Clarinet in B-flat, Horn in F and Bassoon)"
Chapter (II) --- Monologue (for Flute Solo)
Chapter (III) --- "A Mental Walk (for Flute, Oboe, Clarinet in B-flat, Bassoon and Piano)"
Chapter (3) --- """ Dies irae"" for Soprano solo, SATB chorus and Orchestra (1997)"
8
"Three compositions." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5895456.
Full textAbstract:
by Lee Chui Ling.Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.
Preface --- p.1
Chapter I. --- Twinkling --- p.3
Chapter i) --- Analysis-----Introduction --- p.4
Chapter ----- --- Formal structure
Chapter ----- --- Musical elements
Chapter ii) --- Score (with performance notes) --- p.8
Chapter II. --- Emancipation --- p.14
Chapter i) --- Analysis 226}0ؤ Introduction --- p.15
Chapter ----- --- First movement ~ Formal structure
Chapter ~ --- Orchestration
Chapter ----- --- Second movement ~Formal structure
Chapter ~ --- Harmony
Chapter ----- --- Third movement ~ Formal structure
Chapter ~ --- Musical elemets
Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25
Chapter III. --- Once Upon a Time --- p.105
Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106
Chapter ----- --- Formal structure
Chapter ----- --- Scale
Chapter ----- --- Quotation
Chapter ii) --- Score (with performance notes) --- p.111
9
Grant, Quentin Stuart David. "Portfolio of original compositions." Thesis, 2008. http://hdl.handle.net/2440/51095.
Full textAbstract:
This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included.
These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work.
In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis
of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work.
An appendix includes the scores of a further ten works, with a brief introductory commentary on each.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008
10
Grant, Quentin Stuart David. "Portfolio of original compositions." 2008. http://hdl.handle.net/2440/51095.
Full textAbstract:
This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008
11
Weekes, Diana K. "Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis." 2007. http://hdl.handle.net/2440/57119.
Full textAbstract:
Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library.This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007
12
Copeland, Warren. "Time for bee: a recital of compositions." Thesis, 1994. http://hdl.handle.net/2429/5123.
Full textAbstract:
Time for Bee consists of a series of ten original musical/theatrical compositions created
between September 1992 and January 1994, first performed on the evening of January 28,
1994 in the Recital Hall of the University of British Columbia. While each of the works
can be performed individually, it was the composer’s intent to create a recital which is
logical in its progression. This should suggest that in some way the pieces belong together
as a larger whole.
The concept of “waiting” circulates throughout all the works, in the sense that the actual
material is either minimalist (and so one is forced to “wait” for changes), or the philosophy
behind a given piece is similarly based, but may not be evident in the sounding music. The
studies in the music machine, for example, try to incorporate necessary stage changes
between pieces (and the waiting the audience goes through) into musical events about such
waiting.
A secondary interest concerns the concept of contradiction. The majority of the works are,
for example, based upon high-sounding textures (flute, violin, clarinet, high piano and
mallets, etc). The studies in the music machine attempt to introduce low-sounding textures
as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the
side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction
to the unified high-sounding textures of the majority of the recital.
Individual pieces are similarly based upon concepts of contradiction and waiting. Memory,
as a concept, plays a prominent role in several pieces as well.
13
Berger, Steven. "Compositions [Instrumental music. Selections]." Thesis, 1992. http://hdl.handle.net/2429/2425.
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Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).
14
Johnson, Julie. "A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.
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15
Bolden, Benjamin. "Opus 25." Thesis, 1997. http://hdl.handle.net/2429/5905.
Full textAbstract:
Opus 25 is a collection of compositions which I created between September
1995 and April 1997. Instrumentation varies; there are works for choirs, chamber
ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in
this collection have been performed at some point during this same period, and
recordings of these performances can be found on the accompanying cassette.