Academic literature on the topic 'Secular (Mixed voices) with instrumental ensemble Scores'
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Dissertations / Theses on the topic "Secular (Mixed voices) with instrumental ensemble Scores"
Yang, Yu-Lin 1974. "Three scenes in dreamland : (1999-2000) : for mixed choir and instrumental ensemble." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33371.
Full textRoi, Micheline. "Of a covered harvest." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61165.
Full textSchultz, Arlan N. (Arlan Nelson). "Edifice : op.4, no.2." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22539.
Full textThe philosophical impetus of this work stems from the process of perspectival redefinition, the resultant alteration in perceptual space being of primary importance. This could be viewed as the meta-text of the poem and forms the basis for an iconic realization of this concept in "EDIFICE".
The work is characterized by the unusual spatial disposition of its constituent ensembles. Specifically, the two mixed choirs are antiphonally situated, one on either side of the audience, with the wood winds and brass set in two concentric circles between the two choirs. The wood winds and bass trombone are enclosed by the remaining brass. This arrangement of the instruments relates directly to the imagery implicit in the third segment of the poem; " ... I will not listen, My self is pouring Outside me; Like a cast of metal Covers me ... ".
In terms of compositional designs the work explores such techniques as cyclical permutation of phonemic units derived through the phonetic fragmentation of text segments; phonemic manipulation in a multi-layered texture for the purpose of timbral variation; inexact rhythmic imitation, termed "quasi cannon"; serialized and "eroded" breathing rhythms; continuous redisposition of semi-chromatic pitch cells as foundational harmonic structures; and textural "cross-fading" within the antiphonal distribution of forces.
Norris, Thomas B. "In the Midst of Spoils: A Composition for Mixed Chorus (SATB) and Small Instrumental Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935835/.
Full textMakela, Steven L. "Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2435/.
Full textClifton, Jeremy J. "The four horsemen : an original composition for choir and mixed ensemble." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1466724.
Full textSchool of Music
Woodward, Nathan Paul L'Engle Madeleine Rudy Paul. "Out of the shadows." Diss., UMK access, 2006.
Find full textFor chorus and wind ensemble. "A thesis in music composition." Madeleine L'Engle, poet ; Paul Rudy, advisor Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.
Full text"A portfolio of music compositions." Thesis, 2013. http://library.cuhk.edu.hk/record=b5549254.
Full text我嘗試在作品集當中運用一些以前我並不經常使用的作曲概念、作曲技巧,及配器法和一些樂器組合,以致我可以創作一些突破我以往風格的作品。以上三首作品都屬於不同類型,也有作不同的特質;樂曲順著創作日期先後而排列。我嘗試在 “謎語 I, 110806 和 “影。空 這兩首較早期的作品中實驗一下當時對我而言是創新的樂曲種類和作曲技巧。較近期的作品“交響詩是為管樂團而作。因為我學習圓號多年,所以這是我最熟悉的樂曲類型。
“謎語 I, 110806“
這是一首為四個電話而作的實驗性作品,藉此表達出我們每天都在經歷充滿戲劇性的人生。電話可以產生出脈衝和音頻聲響,無疑是一件樂器。其實很多圍繞著我們的事物都可以用來創作音樂。我為這首樂曲的演出預先預備了一些錄音以在樂曲中特定的時間播出。演奏者可以按他們自己的喜惡以其他錄音代替。
“影。空“
這是一首揉合電子合成器所產生的電子音效和真實錄音的電子音樂作品。創作靈感來自<聖經>的<傳道書>,我特別是被當中認為人生在世一切都如捕風捉影所觸動。我在音樂中使用了風聲作為一固定反復的樂句以貫穿全曲。有此作為一個無間斷的承托部分令到一些不可能在真實樂器演奏中發生的細緻音樂元素可以在這首樂曲中呈現。
“交響詩“
這首樂曲的最大特點是我選擇在這首管樂團作品中運用了豎琴和馬林巴琴的二重奏。樂曲起始是一些精簡又有著強烈對比的樂段,這些樂段在樂曲較後部分融合一起,並發展成一長樂段。我在樂曲中主要著意於創造優美的旋律,當中蘊含著不規則的分句,卻不影響樂曲本身的流暢性。
This portfolio consists of three pieces: Enigma I, 110806 for four domestic telephones, In Vain Like A Shadow an electronic piece, A Symphonic Poem for concert band
In my portfolio, I have attempted to use the compositional concepts and techniques, as well as orchestration and instrumentation method that were unfamiliar to me before, so as to ensure that I was writing works that would stretch beyond my usual musical tendencies. The three pieces in my portfolio all have distinctive styles and genres; each will be presented chronologically according to its completion date. In my two earlier pieces, Enigma I, 110806 and In Vain As A Shadow I wish to experiment with the genres and techniques that were new to me at the time. The most recent work, A Symphonic Poem, is composed for concert band. It is the genre that I am most comfortable and familiar with, owing to my years of training on the French horn.
Enigma I, 110806
This is an experimental piece composed for four domestic telephones. This came out of my idea of creating a work that would enable music to express the drama we encounter in our daily lives. The telephone is no doubt a musical instrument--it can generate pulses and pitched tones. In fact, many objects that surround us can be used to create music. For the performance of this work in the past, I have prepared some pre-existing recorded sound tracks that can be played alongside at particular moments in time. However, those who wish to make their own sound tracks to substitute mine for the performance are welcome to do so.
In Vain As A Shadow
This is an electronic piece that combines recorded live sounds with effects that are produced by a synthesizer. While composing this work, I was inspired by the book Ecclesiastes from the Holy Bible; in particular, I was struck by the part about how the life of a man is a vanity. In my music, I have used a drone-like ostinato that permeates throughout the entire work. Using this as the long, seamless foundation of my piece, while delicate gestures are introduced up above, is something that would have been impossible if only acoustic instruments are used.
A Symphonic Poem
What is most unusual in this work is probably my choice to feature a duet for harp and marimba within a wind band. This piece begins with a few short, contrasting sections that are later combined with one another, and eventually grow to become one long stretch. Much of my attention in working through this piece has been focused on creating beautiful melodic lines that have irregular phrasings, yet will not interfere with the continuous musical flow.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Cheng, Ming Hin Henry.
"December 2012."
Thesis (M.Mus.)--Chinese University of Hong Kong, 2013.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese.
Volume I:
Cover Page
Content Page
Acknowledgments --- p.i
Abstract --- p.ii
Enigma I, 110806 --- p.1
In Vain As A Shadow --- p.8
Volume II:
Cover Page
A Symphonic Poem --- p.1
"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.
Full textsubmitted 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
Books on the topic "Secular (Mixed voices) with instrumental ensemble Scores"
Bates, Mason. Mass transmission: For SATB chorus, piano, synthesizer and electronica. [California?]: Aphra Music, 2013.
Find full textCoghlan, Michael. The properest day: S.A.T.B., flute and piano ; It was a lover and his lass : T.B., flute and piano ; Under the leaves so green : S.A.T.B. and piano ; Orpheus with his lute : S.A. unison choir or solo voice, flute and piano ; Spring round : S.A.T.B., flute and piano. Don Mills, ON: G.V. Thompson Music, 1996.
Find full textChihara, Paul. Minidoka: (Reveries of--) : SATB, vibraphone, and percussion. Los Angeles, CA: Yelton Rhodes Music, 1998.
Find full textBrant, Henry. Western springs. New York, NY: CRI, 1985.
Find full textGórecki, Henryk Mikołaj. The essential Górecki: Orchestral & choral music. London: Olympia, 1993.
Find full textPenderecki, Krzysztof. Krzysztof Penderecki. Poland: Polskie Nagrania Muza, 1989.
Find full textPärt, Arvo. Miserere für Soli, Chor, Ensemble und Orgel (1989, rev. 1992). Wien: Universal Edition, 1996.
Find full textSterling, Robert. Songs in the key of love: 12 arrangements for vocal ensemble or contemporary choir. Nashville, TN: Word Music, 1996.
Find full textRutter, John. Te Deum. Chapel Hill, N.C: Hinshaw Music, 1989.
Find full textCharpentier, 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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