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Published: 7 July 2024
Last updated: 7 July 2024

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1

Chen, Han-Jin. "Les quintettes pour instruments à vent d'Antoine Reicha." Paris 4, 1997. http://www.theses.fr/1997PA040326.

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Antoine Reicha (1770-1836), compositeur, pédagogue et théoricien, naturalise français, était originaire de Bohème. Pares avoir fait son apprentissage musical avec son oncle Joseph Reicha dans les cours princières d'Oettingen-Wallerstein en souabe et de Cologne à Bonn, où il fut l'ami et le collègue de Beethoven, il se déplaça successivement à Hambourg, Paris et Vienne pour tenter sa chance; sa première vocation fut l'art lyrique, mais sans succès. En 1808, il se retrouva à Paris, et s'y installa définitivement. Enfin il acquit une renommée européenne grâce à ses vingt-quatre quintettes pour instruments à vent. Héritier d'une tradition d'émigration de musiciens originaires de Bohème, le caractère éclectique de Reicha fut très européen : il sut adapter, au moyen de son enseignement, de ses traites théoriques, et de ses compositions, la tradition musicale d'Outre-Rhin à l'expression instrumentale française; cet esprit du fusionnement des courants germaniques et français fut bien incarné dans ses quintettes à vents, dans lesquels il sut tirer parti du Harmoniemusik allemand, de la musique de chambre viennoise et de celle parisienne. De plus, Reicha sut profiter d'une situation favorable - l'essor des instruments à vent et l'épanouissement de la virtuosité des instrumentistes à vents du début du XIXe siècle - pour promouvoir ses quintettes, qui deviendront désormais le genre principal de la musique de chambre à vents
Antoine Reicha (1770-1836), composer, teacher and theorist, a naturalized French citizen, originated from Bohemia. After studying music with his uncle Joseph Reicha in the princely courts of Oettingen-Wallerstein in Swabia and Cologne in Bonn, where he was a friend and colleague of Beethoven, he moved first to Hamburg and then to Paris and Vienna to seek his fortune : he first turned to opera, but unsuccessfully. In 1808, he was in Paris where he settled permanently. He finally secured his reputation in Europe with his twenty-four woodwind quintets. Inherited from a tradition of emigration of musicians originating from bohemia, the eclectic character of Reicha's works was very European : through his teaching, treatises and compositions, he adapted German musical tradition to the expression of French instrumental music; this blending of German and French musical currents is embodied in his quintets in which he drew on German Harmoniemusik as well as on Viennese and Parisian chamber music. Moreover, Reicha took advantage of the rapid development of wind instruments and the growing virtuosity of wind instrument players at the beginning of the 19th century to promote his quintets which thereafter became the main genre of chamber music for woodwind
2

Shiraishi, Yuriko. "L'œuvre de chambre pour cordes et piano de Gabriel Fauré (quatuors, quintettes, trio) : essai de caractérisation de la dynamique formelle." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL179.

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Malgré la notoriété de Gabriel Fauré, le style particulier de sa musique chambre reste encore difficile à appréhender par l’analyse. La construction formelle y est un réel sujet de questionnement. Tandis que certains analystes essaient d’attester son originalité en examinant en quoi elle s’éloigne de la tradition, d’autres proposent des analyses de la dynamique caractéristique de ses thèmes, dont le développement continu aboutit à la réalisation de la grande forme. Ces dernières se sont jusqu’à présent appuyées sur un corpus limité. Cette thèse se propose d’élargir le corpus aux cinq grandes œuvres de chambre pour cordes et piano – deux Quatuors op. 15 et 45, deux Quintettes op. 89 et 115 et le Trio op. 120 et d’y cerner la « dynamique formelle ». Après l’étude des témoignages de l’époque du compositeur qui permet de mettre en relief la conception de l’originalité formelle dans son œuvre, l’analyse porte sur l’agencement interne des thèmes et sur la réalisation de la grande forme à partir de l’étude des partitions mais aussi à l’aide d’une représentation donnée par un logiciel informatique qui permet de visualiser l’enveloppe dynamique et de repérer des climax. En révélant en quoi consiste ce processus, la présente thèse contribue à mieux rendre compte du style personnel de Fauré et de la façon dont il élabore une musique qui donne l’impression d’une progression et d’un développement continus se prolongeant jusqu’à la fin de l’œuvre
Despite the notoriety of Gabriel Fauré’s musical style, the particular style of his chamber music still remains difficult to comprehend by analysis. Formal construction is a real subject of question. While some analysts try to attest to his originality by examining how it departs from tradition, others offer analyses of the dynamic characteristic of its themes, whose continuous development leads to the realization of large form. The latter have so far relied on a limited corpus of works. This thesis proposes to expand the corpus to the five large chamber works for strings and piano - two Quartets op. 15 and 45, two Quintets op. 89 and 115 and the Trio op. 120 in order to define the “formal dynamics.” After the study of testimonies from the composer's time that highlights the formal originality in his work, the subsequent analysis deals with the internal arrangement of themes and the realization of large form from the study of scores. I conduct my analysis with the help of graphic representation created by a computer software that can visualize the enveloping dynamic and identify climaxes. By revealing the contents of this process, this thesis helps to better reflect the very personal style of Fauré and the way in which he creates music that gives the impression of continuous progression and development extending to the end of the work
3

Lotiron, Claire. "Le Quintette Instrumental de Paris et la pratique chambriste en France dans l'entre-deux guerres : carrière et répertoire (flûte, harpe et trio à cordes)." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL020.

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En 1922, le flûtiste René Le Roy eut l'idée de créer une formation chambriste dont l'effectif instrumental atypique (flûte, harpe et trio à cordes) n'est pas sans rappeler celui de la Sonate pour flûte alto et harpe de Debussy qu'il affectionnait particulièrement. Le Quintette Instrumental de Paris poursuit une intense carrière musicale jusqu'en 1940, grâce à l'investissement et à la rigueur de ses membres originels : Marcel Grandjany puis Pierre Jamet à la harpe, René Bas au violon, Pierre Grout à l'alto et Roger Boulmé au violoncelle. Le groupe est dissous durant la guerre, à la suite du départ de René Le Roy pour l'Amérique et de la mort au combat de Roger Boulmé. Le Quintette se reforme en 1944, sous l'impulsion de son harpiste dont il portera le nom. À la séparation définitive de l'ensemble en 1958, le Quintette Pierre Jamet trouve un nouvel élan en la personne de Marie-Claire Jamet, fille de Pierre Jamet, et de son mari le flûtiste Christian Lardé. Cette thèse, qui se concentre sur la première période d'activité de l'ensemble (1922-1940), se propose d'examiner la manière dont le groupement est parvenu à s'implanter et pérenniser son activité, alors même qu'il ne correspondait à aucune tradition chambriste et qu'il ne disposait d'aucun répertoire préexistant. Les interprètes sollicitèrent les compositeurs de leur temps afin d'enrichir progressivement leur répertoire. À la lumière de documents d'archives pas ou peu exploités jusqu'à maintenant, la première partie du travail s'attache à reconstituer la trajectoire musicale de l'ensemble et à mesurer la place qu'il occupe dans la vie musicale de son époque. Il jouit d'un contexte historique favorable à la pratique de la musique de chambre et suscite l'intérêt des compositeurs, séduits par le potentiel expressif de cette nouvelle combinaison instrumentale. Une deuxième partie revient sur les stratégies de carrière mises en place par l'ensemble lui-même pour promouvoir son activité en France comme à l'étranger. L'occasion nous est donnée de revenir sur la figure de l'imprésario qui, à l'instar de Marcel de Valmalète, exerce une influence de plus en plus grandissante dans la vie musicale française. Dans une période de grands bouleversements géopolitiques, l'Association Française d'Action Artistique (A.F.A.A.), qui œuvre pour la promotion de la musique française à l'étranger, favorise grandement le déploiement de la carrière du Quintette en Europe et en Amérique. À ce titre, les deux tournées américaines réalisées en 1934 et 1935 s'érigent comme un modèle de rayonnement artistique. Proche de René Le Roy et surtout de Pierre Jamet, Nadia Boulanger facilite l'introduction du Quintette dans le milieu musical new-yorkais, en endossant un rôle d'intercesseur. La programmation de concerts, également reconstituée, repose sur le principe d'alternance de pièces d'effectifs différents, tout en s'attachant à remettre à l'honneur des pages méconnues du répertoire baroque et présenter les dernières productions de compositeurs contemporains. Afin d'en mesurer les spécificités, le répertoire interprétatif du Quintette est mis en regard d'autres formations de la même époque, en particulier le Trio Cortot-Thibaud-Casals, le Trio Pasquier et le Quatuor Calvet, qui bénéficiaient également d'une grande visibilité sur les mêmes années d'exercice. Enfin, la troisième partie aborde spécifiquement l'esthétique du répertoire en quintette progressivement constitué entre 1923 et 1938, et qui comprend près d'une trentaine d'œuvres composées à l'intention du Quintette Instrumental de Paris. Un corpus plus resserré comprenant les dix quintettes les plus représentatifs de leur répertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero et Françaix) font l'objet d'une analyse approfondie de l'écriture et de la gestion de l'effectif instrumental. Ce travail permet d'aborder les questions d'homogénéité sonore, d'explorations timbriques et de configuration instrumentale
In 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration
4

Miller, Alisha Leighanne. "Three Quintets by and for Heinrich Joseph Baermann." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245270690.

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5

Moore, Duncan Michael. "Toppling failure in the Marmot Vertical Limb at Quintette Coal Ltd., Tumbler Ridge, British Columbia." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27943.

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Two years in a row Quintette Coal Ltd. had a toppling failure occur on the North Wall in the Marmot Vertical Limb. The wall has an overall angle of approximately 50 degrees, and the stratigraphy, consisting of poor quality sandstone and shale, is dipping almost vertical. The July 27th bench scale toppling failure, was initiated by high pore pressures generated in tension cracks. The September 18th toppling failure was a multi-bench failure, which had been developing for over a year. Although water pressures did not initiate failure, transient water tables contributed to the overall instability. Both failures were the result of poor wall design and blasting damage. This thesis presents the background material, the mine and monitor method developed and the back analysis of the failure. The areas researched include: regional and local geology, structural geology in the Vertical Limb, mine development, the groundwater conditions encountered, the blasting practices used, the artificial support systems installed and the monitoring network established. The analysis of the failure used the Distinct Element Method developed by Peter Cundall. This method is a recognized discontinuum modelling approach, which is used to model jointed media subjected to quasi-static or dynamic loading. The method has been compared to the Limit Equilibrium Analysis proposed by Goodman and Bray in 1976, but most of the work involving UDEC (Universal Distinct Element Code) has centred around tunnel design and support requirements, rock reinforcement, fluid flow through a jointed media, dynamic loading and thermal-mechanical modelling. In this thesis the rock mass is analyzed as a series of rigid blocks, which are subjected to gravitational forces. The purpose of UDEC is not to design pit walls or better dams, but rather to be used as a tool to better understand how a jointed rock mass behaves under static and dynamic loads.
Applied Science, Faculty of
Mining Engineering, Keevil Institute of
Graduate
6

Drude, Matthias. "Quintett für zwei Trompeten, zwei Posaunen und Klavier (1988-89)." Matthias Drude, 1989. https://slub.qucosa.de/id/qucosa%3A72922.

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Das Quintett für zwei Trompeten, zwei Posaunen und Klavier entstand 1988-89 für ein Konzert junger Komponisten an der Hochschule für Musik und Theater Hannover. Alle teilnehmenden Komponisten folgten einer gemeinsamen, von Prof. Peter Becker erdachten Aufgabenstellung, nämlich: >„Ich folge Luft von anderem Planeten“ – Studie über die Anfangstöne des Sopranparts d-g-a des Schusssatzes des 2. Streichquartetts fis-Moll von Arnold Schönberg für eine beliebige Quintettbesetzung<. Zugrunde liegt dem vokal-instrumentalen Satz das Gedicht „Entrückung“ von Stefan George, das mit der oben zitierten Zeile beginnt. Mein Werk hat mit Schönberg wenig zu tun, am ehesten noch hinsichtlich der Technik der entwickelnden Variation. Klanglich ist es eher von der latenten Pentatonik inspiriert, die in der Tonfolge d-g-a enthalten ist. Die ungewöhnliche Besetzung meines Beitrags vereint zwei der Klangkörper, für die ich besonders gern komponiere und die mir besonders vertraut sind: Klavier und Blechbläser. Wie Schönberg (Sopransolo + Streichquartett) habe ich also eine „1 + 4“-Besetzung gewählt.
7

Winterbach, Veranza. "Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.

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Includes bibliographical references.
Gabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.
8

Westerman, Kirsten M. "A Forgotten Founder: Franz Danzi and His Nine Woodwind Quintets." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1495807087574502.

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9

Pak, Moon-Chung. "Sonata form in the six quintets, opus 11, by Johann Christian Bach." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026704.

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This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.
10

Zajkowski, Roberta. "The Piano and Wind Quintets of Mozart and Beethoven: Reception and Relationship." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275422871.

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11

Heinz, Gottfried. "Die Geschichte des Klavierquintetts von den Anfängen bis Robert Schumann." Neckargemünd : Männeles, 2001. http://catalog.hathitrust.org/api/volumes/oclc/47767794.html.

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12

Moroni, Frederick. "Keyboard ensembles in Britain : piano trios, quartets, quintets and their antecedents, 1756-1800." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319071.

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13

Tesch, Catherine Kay Schulze. "Anton Reicha's "Quintetto pour clarinette en si, deux violons, viola et violoncelle": An analytical study." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187178.

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Anton Reicha (1770-1836) was well-respected during his lifetime as an illustrious teacher, and author of four successful textbooks on composition. His chamber works, particularly the twenty-four wind quintets brought him a measure of success as a composer. This study focuses on one of Reicha's lesser known chamber works, the Quintet in B-flat Major for Clarinet and String Quartet, op. 89. Part I of the study consists of biographical information, influences of performers, technical advances and performance practice, as related to Reicha's compositional technique for clarinet. The Quintet was written early in the 19th century as the clarinet was experiencing rapid technological advances. The six-key clarinet used by Jean Xavier Lefevre at the Paris Conservatory, and the thirteen-key clarinet designed by Ivan Muller are discussed with a comparative fingering chart included. Part II of the study contains an analysis of each of the four movements of the Quintet with regard to melody, harmony and form. A chart is provided for each movement in order to summarize the aspects of the analysis. A chart of Reicha's explanation of sonata form, La grande coupe binaire, is translated and discussed. Reicha's theories concerning composition are also included as they are found reflected in the work.
14

Drosopoulou, Loukia Myrto. "Dynamic, articulation and special-effect markings in manuscript sources of Luigi Boccherini's string quintets." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/14119/.

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Luigi Boccherini's chamber works form the largest part of his compositional output of nearly 500 works. In these works Boccherini included performance markings to a much greater extent that in his violoncello sonatas and concertos. His string quintets, in particular, present a large variety of dynamic, articulation and special-effect markings, constituting an important source for the study of eighteenth-century performance practice. Boccherini listed 125 string quintets in his thematic catalogue - composed between 1771 and 1802 - of which 113 were originally scored for two violoncellos and 12 for two violas. If we add to this number transcriptions he made for string quintet, his total output for this genre rises by at least another 24 works. The quintets were mostly composed during Boccherini's employment with the Spanish Infante Don Luis de Borbön between 1770 and 1785, and subsequently, during his employment with King Friedrich Wilhelm II of Prussia, between 1786 and 1797. This study discusses dynamic, articulation, and special-effect markings in Boccherini's string quintets in terms of their notation and use. Special attention has been given to the manuscript sources of these works and in particular to Boccherini's autographs - located at the Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv and the Bibliotheque nationale de France - in order to draw a clearer picture of the composer's notational habits, which are not always reflected in early and modern editions of these works. Since performance markings were not present to a great extent in eighteenth-century repertoire, particularly solo music, this study aims to add not only to the scholarship of Boccherini's individual notational and compositional practices, but also to the wider knowledge of eighteenth-century performance practice.
15

Ryan-Hirst, Thomas F. "DNAlien." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1241838550.

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16

Spence, Marcia L. (Marcia Louise). "Carl Nielsen's Quintet for Winds, OP. 43: A Critical Edition, a Lecture Recital, Together with Three Recitals of Selected Works for Horn by Atterberg, Ries, Mozart, Rosetti, Musgrave, Larsson, and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935624/.

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The purpose of this dissertation is to prepare and present a critical edition of Carl Nielsen's Quintet for Winds, Op. 43, a major work in the woodwind quintet repertoire. Written for the Copenhagen Wind Quintet in 1922, it is also considered a pivotal composition in Nielsen's artistic output. This treatise offers a brief biography of Carl Nielsen, documents the history and significance of the Quintet for Winds, Op. 43, and presents a critical edition that will enable more accurate performances of this important composition.
17

Stegall, Jermaine Edward. "Till Millennial Kingdom a composition for trumpet, three percussionists, and tape /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/stegall%5Fjermaine/index.htm.

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Theoro, Jaqueline de Paula 1974. "A importância dos quintetos de sopro de Anton Reicha no repertório camerístico dos trompistas = estudo analítico e interpretativo dos quintetos n. 1 opus 88 e n. 24 opus 100, à luz de seus tratados de harmonia, composição e melodia." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284941.

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Orientador: Eduardo Augusto Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T08:09:14Z (GMT). No. of bitstreams: 1 Theoro_JaquelinedePaula_M.pdf: 36298604 bytes, checksum: 01c942b426e99e3195f815a54b7a21b7 (MD5) Previous issue date: 2010
Resumo: Verificando a importância dos Quintetos de Sopro de Anton Reicha, no repertório camerístico dos trompistas, esta pesquisa tem como finalidade apresentar um estudo analítico e interpretativo das obras "Quinteto em Mi bemol Maior opus 88 nº1" e "Quinteto em Si bemol Maior opus 100 nº 24", ambos para flauta, oboé, clarinete, fagote e trompa, tendo como parâmetros os tratados: Traite de Melodie (1814), o Cours de Composition Musicale ou Traité Complet et Raisonné d?Harmonie Pratique (1818) e o Traité de Haute Composition Musicale (1824-26) do próprio compositor. Na época de composição das obras, Reicha já tinha um amplo conhecimento da trompa natural e por isso, as análises interpretativas foram direcionadas tanto à performance na trompa natural, como na trompa moderna, e desta forma, o trompista atual, mesmo sem utilizar a trompa natural ou a técnica de mão, poderá utilizar na trompa moderna, as informações e observações referentes ao resultado sonoro, exclusivamente característico à técnica de mão, enriquecendo sua interpretação com nuances e características timbrísticas, que antes só poderiam ser percebidas com a performance na trompa natural. Assim, este trabalho além de proporcionar o resgate aos tratados teóricos, amplamente utilizados como referência na época, promove um enriquecimento interpretativo aos trompistas
Abstract: Upon examining the importance of the Woodwind Quintets by Anton Reicha for the chamber music literature and as important repertoire for french horn players, this study has as its main purpose to present an analytical and interpretive study of Woodwind Quintets in E flat major, op. 88 n.1 and Quintet in B flat major op. 100 n. 24. Scored both for flute, oboe, clarinet, bassoon and french horn, this author used as parameters Anton Reicha's own theoretical treatises namely "Traité de Mélodie (1814)" , "Cours de Composition Musicale ou Traité Complet et Raisonné d'Harmonie Pratique (1818)" and "Traité de Haute Composition Musicale (1824-26)" .The dates of these compositions can very well indicate that Reicha had a thorough knowledge of the natural horn. The interpretive analysis here presented are aimed at either the performance of the historical natural horn or the modern french horn. In this way the modern player, even without having access to the natural instrument or the utilization of hand technique, can apply on the modern french horn the information offered here regarding the sound qualities that are a characteristic of hand technique which helps enrich timbristic nuances that can only be perceived on the natural horn. This work, besides offering an insight into the composers theoretical treatises widely used by his contemporaries also offers interpretive suggestions to the modern players of the french horn
Mestrado
Fundamentos Teoricos
Mestre em Música
19

Schipperges, Thomas. "„Dolore, febbre, delirio“: Zur Poetik des Schmerzes in George Onslows Kugel-Quintett c-Moll op. 38." Georg Olms Verlag, 2013. https://slub.qucosa.de/id/qucosa%3A38691.

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Der Beitrag fragt, wie Musik das Phänomen des unmittelbaren körperlichen Schmerzes aufnimmt und wie sie es im Rahmen von Form und Ästhetik einer in festen Traditionen vorgeprägten kammermusikalischen Gattung gestaltet.
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Gedosh, David Mallory. "Augeries for flute clarinet, percussion and tape, aesthetic discussion and theoretical analysis /." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9851.

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A multi-channel electro-acoustic composition for flute, clarinet, percussion (2 players), and tape. Includes pre-recorded audio and live processing. System requirements: Adobe Acrobat Reader. Includes performance notes. Includes bibliographical references (p. 56-58).
21

Archambault, Étienne. "Sans étoiles du continu et du discontinu : essai sur les modalités de transition et d'incidence." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112609.

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Sans etoiles is a musical composition in three movements written for clarinet, horn, violin, cello and piano. This essay deals with the principal characteristics of the musical material used in the piece, the modalities governing transitional processes and the influence of these factors on memory and the perception of musical time. The artistic project gave way to a reflection on the directional aspects of music in order to establish transitional links between independent musical entities defined as 'musical objects'. The main transitional agent between these entities consisted of an autonomous musical layer bearing an exclusive impact on the surrounding musical context. The harmonic network of the piece, a set of interchangeable chord progressions, was conceived from the self-replication of a three-note cell. Each movement of the final work proposes a unique approach to musical time.
22

Queiroz, Rucker Bezerra 1970. "O Movimento Armorial em três tempos : aspectos da música nordestina na contextualização dos Quintetos Armorial, da Paraíba e Uirapuru." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285198.

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Orientador: Esdras Rodrigues Silva
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:15:01Z (GMT). No. of bitstreams: 1 Queiroz_RuckerBezerra_D.pdf: 6234718 bytes, checksum: 24c95df0e6461a73b8cfaf4ca4ee5f40 (MD5) Previous issue date: 2014
Resumo: Esta pesquisa, na área de práticas interpretativas, tem como objetivo confrontar o ideal musical e interpretativo do Movimento Armorial com as performances do Quintetos Armorial (1974), da Paraíba (1994) e Uirapuru (2014). De forma a se ter uma obra que possibilitasse essa comparação utilizou-se o "Toré", de Antônio Madureira. O trabalho encontra-se dividido em três capítulos onde o primeiro versa sobre o Movimento Armorial e sua música. O segundo contextualiza os quintetos e suas formações. O terceiro traz a análise interpretativa da obra Toré
Abstract: This research in the area of ??performance practice, aims to confront the musical and interpretive ideal of Armorial Movement with performances of Quintets Armorial (1974), Paraíba (1994) and Uirapuru (2014). In order to have a work that enabled this comparison we used the music " Toré", by Antonio Madureira. The thesis is divided into three chapters where the first is about the Armorial Movement and its music. The second contextualizes the three quintets and their formations. The third brings the interpretative analysis of the music "Toré"
Doutorado
Praticas Interpretativas
Doutor em Música
23

Flesher, Eric. "Wandering rocks : for flute, clarinet, violin, cello and piano /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11331.

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Mehraban, Andrew. "The Genesis of Bottesini’s Gran Quintetto for Two Violins, Viola, Cello, and Double Bass and the Application of the Italian Scordatura." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619188369070701.

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25

Lee, Brent. "Ribbons of visible air." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0033/NQ38923.pdf.

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Lyden, Megan C. "The story of the Soni Ventorum Wind Quintet /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11269.

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27

Tan, Daphne. "Anachronistic impulses in Carl Nielsen's Woodwind Quintet (1922)." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101897.

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Despite its enduring popularity in performance circles, Carl Nielsen's Wind Quintet, op. 43 (1922), has received little attention from the scholarly community. This thesis provides the most comprehensive examination of the work to date and includes original analyses of each of the three movements. Moreover, it illuminates and defines stylistic trademarks that are found not only in this piece, but also within Nielsen's oeuvre more broadly. These traits include the weakening of tonal design, the liberal use of chromatic harmonies, contrapuntal writing, and the allusion to and distortion of traditional forms. This thesis highlights Nielsen's synthesis of traditional and idiosyncratic elements and thereby situates his music amid an emerging trend in European compositions of the time: the anachronistic use of historical models (Hyde).
28

Cheng, Chien-Wen. "Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

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29

Tan, Chee-Tick. "Piano Quintet." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277681/.

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The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.
30

Lee, Terry Alan. "Grancloud, a real-time granular synthesis application and its implementation in the interactive composition Creo." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12151.

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For flute, violin, French horn, piano, and live electronics. Includes graphic notation for computer. Includes performance notes. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 93-94).
31

Menton, Allen Walter Menton Allen Walter. "Volume I. The persistent fantasy extended single-movement form in twentieth-century composition ; Volume II. Convivencia : a fantasy for guitar and string quartet /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930284591&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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32

Gedosh, David. "Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9851/.

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Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, are used to contextualize these notions, through a description of the various consciousness structures with specific attention to the space-time relationships. Of specific concern are the aperspectival manifestations in music in the twentieth century and beyond. Special emphasis is given to the area of electro-acoustic music, particularly spectral music. The theoretical analysis explores how the various techniques are used to create an aperspectival experience, and includes specific descriptions of the technique of refraction as metonymy, and pitch set analysis of the technique of expansion and contraction.
33

Goforth, Stephen Tucker Pezel Johann Scheidt Samuel. "Baroque ornamentation practices applied to transcriptions for the modern brass quintet using selected compositions of Johann Pezel and Samuel Scheidt /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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34

Huynh, Y.-am [Verfasser], Wolfram [Gutachter] Sander, and Martin [Gutachter] Feigel. "Synthese und Charakterisierung organischer Quintett- und Septett-Verbindungen bei kryogenen Temperaturen und Beiträge zur Synthese stabiler Dioxirane / Y-am Huynh ; Gutachter: Wolfram Sander, Martin Feigel ; Fakultät für Chemie und Biochemie." Bochum : Ruhr-Universität Bochum, 2012. http://d-nb.info/1223172007/34.

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35

Huynh, Y.-Am [Verfasser], Wolfram [Gutachter] Sander, and Martin [Gutachter] Feigel. "Synthese und Charakterisierung organischer Quintett- und Septett-Verbindungen bei kryogenen Temperaturen und Beiträge zur Synthese stabiler Dioxirane / Y-am Huynh ; Gutachter: Wolfram Sander, Martin Feigel ; Fakultät für Chemie und Biochemie." Bochum : Ruhr-Universität Bochum, 2012. http://d-nb.info/1223172007/34.

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36

Sorensen, Randall J. "Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.

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This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire.
School of Music
37

Heinz-Kronberger, Gottfried. "Die Klavierquintette George Onslows." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23844.

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38

Fitch, Fabrice. "Filigranes pour les Frères Limbourg." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60025.

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The paper details and discusses the compositional issues and techniques employed in the candidate's M.Mus. Thesis Composition Filigranes pour les Freres Limbourg. The piece takes its title and inspiration from the work of the fourteenth-century master-illuminators and also makes reference to music of the same period, while at the same time being grounded in a post-serial aesthetic. The composition's relationship to these models and the specific compositional processes derived from the resulting fusion of certain aspects of mediaeval music (including modality and numerology) with serial technique are described and illustrated. Special emphasis is placed on the interaction of abstract organisational principles (such as permutation) and their musical results.
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Hagels, Bert. "Sinfonik aus kammermusikalischem Geist." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23837.

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40

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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41

Stowman, William J. (William John). "A Guide for the Preparation, Analysis and Performance of the Brass Quintet Literature of Thom Ritter George, with Three Recitals of Selected Works by Bach, Bitsch, Handel, Torelli, Suderberg, Ketting and Others." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935818/.

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An examination of the musical style, compositional techniques and performance practice issues of American composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer.
42

Gratton, J. Brian (John Brian). "Three Motivic Topics in Beethoven's Piano Quintet, Op. 16." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278612/.

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The first movement of the Piano Quintet, Op. 16 of Ludwig van Beethoven works out three significant motivic "topics": a chromatically filled-in second, appearing first as 5 - #5 - 6 (Bb - B - C in Eb major); the emphasis om the submediant, both as vi in Eb major and as the tonal region of C minor; and the melodic interval of the sixth, which, when inverted to become a descending third, determines the structure of tonal regions at crucial points in the movement. These three motivic topics are introduced in the opening measures of the piece and are subsequently unfolded throughout the movement; the focus of the thesis will be to trace the unfolding of these three topics.
43

Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.

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This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is scored for solo viola and chamber orchestra. A cassette copy of the recital is available with this book.
Arts, Faculty of
Music, School of
Graduate
44

McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.
45

Malz, Angela. "Jahresbericht 2015 / Universitätsbibliothek Chemnitz." Universitätsbibliothek Chemnitz, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-211202.

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Malz, Angela. "Jahresbericht 2012 / Universitätsbibliothek Chemnitz." Universitätsbibliothek Chemnitz, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-148566.

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Malz, Angela. "Jahresbericht 2016 / Universitätsbibliothek Chemnitz." Universitätsbibliothek Chemnitz, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-228461.

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48

Smyth, Clint R. "Reclamation research at Quintette Operating Corporation." 1995. http://hdl.handle.net/2429/10860.

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A comprehensive research program was initiated at Quintette in 1986. Research trials ranging from site preparation treatments to native species selection and establishment methods were implemented and assessed. Results of many of the trials are now being applied operationally.
49

Switzer, Bruce. "Reclamation at Quintette Coal Limited, 1982-1985." 1986. http://hdl.handle.net/2429/14375.

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50

Liao, Yi-Huei, and 廖宜慧. "Jean Françaix：Divertissement pour basson et quintette à cordes." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/78674621994133685451.

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碩士
東吳大學
音樂學系
94
The musical development of 20th century had great varieties. There were so many musical styles coexisted in the multicultural society. In this thesis, we study “Divertissement pour basson et quintette à cordes (1942)” which is one of the work of Jean Françaix (1912-1997). It’s the masterpiece of neoclassicism, which prevailed between 1918 and 1945. There are three major sections in this thesis. The first section introduces the colorful biography of Jean Françaix. Furthermore, we study the unique musical styles and creative characteristics of his works. Then we focus on studying the creation background of the work, Divertissement pour basson et quintette à cordes. In the second section, we analyze the musical structure and composition methods of this work. We mainly concentrate our attention on studying and comparing “the structures of the tunes”, “harmony”, “melody”, and “the modes of meter and rhythm”. The final section discusses how to combine the studies of the previous two sections in order to develop a better explaination.
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