Relevant bibliographies by topics / Sacred vocal trios with instrumental ensemble – Scores

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Academic literature on the topic 'Sacred vocal trios with instrumental ensemble – Scores'

Author: Grafiati
Published: 28 July 2024
Last updated: 30 July 2024

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Dissertations / Theses on the topic "Sacred vocal trios with instrumental ensemble – Scores"

1

Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.
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2

Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.

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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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3

Weekes, Diana K. "Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis." 2007. http://hdl.handle.net/2440/57119.

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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
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4

Grant, Quentin Stuart David. "Portfolio of original compositions." Thesis, 2008. http://hdl.handle.net/2440/51095.

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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
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5

Grant, Quentin Stuart David. "Portfolio of original compositions." 2008. http://hdl.handle.net/2440/51095.

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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
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Books on the topic "Sacred vocal trios with instrumental ensemble – Scores"

1

Weckmann, Matthias. Four sacred concertos. Madison, [Wis.]: A-R Editions, 1985.

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2

Vierdanck, Johann. Geistliche Konzerte: Zweiter Teil. Kassel: Bärenreiter, 1990.

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3

Vierdanck, Johann. Geistliche Konzerte: Erster Teil. Kassel: Bärenreiter, 1988.

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4

Bryars, Gavin. Cadman requiem: For four male voices (alto, two tenors, and baritone), two violas, cello, and double bass (optional). London: Schott, 1996.

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5

Sterling, Robert. Songs in the key of love: 12 arrangements for vocal ensemble or contemporary choir. Nashville, TN: Word Music, 1996.

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6

Kovalev, A. B. Dukhovnai︠a︡ muzyka N.S. Golovanova: Monografii︠a︡. Tambov: Muzeĭ-usadʹba S.V. Rakhmaninova "Ivanovka", 2019.

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7

Charpentier, Marc-Antoine. In nativitatem Domini canticum: Soli (SATB), coro (SATB) e strumenti (2 flauti, 2 violini e basso continuo). Stuttgart: Carus-Verlag, 1994.

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8

Rutter, John. Te Deum. Chapel Hill, N.C: Hinshaw Music, 1989.

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9

Mass in Blue: Vocal Score. Oxford University Press, 2014.

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10

St John Passion: Vocal Score. Oxford University Press, 2013.

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