Thèses : « Composers (people in music) »

1

Chaplin-Kyzer, Abigail. « Searching for Songs of the People : The Ideology of the Composers' Collective and Its Musical Implications ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157558/.

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The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."

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Mpola, Mavis Noluthando. « An analysis of oral literary music texts in isiXhosa ». Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.

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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).

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3

Poon, Yan Chee. « Does music make coming home easier ? : musical and sociological analyses of selected compositions commemorating the 1997 return of Hong Kong to the People's Republic of China ». HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/443.

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4

Capra, Carlos Augusto. « Music for clarinet by Argentinean composers / ». Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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5

Schimpf, Peter John. « A transcultural student, teacher, and composer : Henry Cowell and the music of the world's peoples / ». Abstract and electronic version Publication number : AAT 3248815 Electronic version, 2006. http://proquest.umi.com/pqdweb?did=1268603461&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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6

Sandvik, Jan. « Examination concert : Interpreting music by three different composers ». Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.

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This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.

Christoffer Pörn: Tre berättelser för piano

Johannes Brahms: Trio för piano, klarinett och cello op 114

Christoffer Pörn: Tre etyder för piano

Charles-Valentin Alkan: Symfoni för piano op 39

Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello

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7

Kim, Yeji. « Hybridity in Flute Music of Four Contemporary Composers ». Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

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8

Curlette, William Bruce. « New music for unaccompanied clarinet by Soviet composers / ». The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487693923198808.

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Rakena, Te Oti. « The synthesis of Polynesian and western traditions in contemporary New Zealand composers / ». Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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10

Nies, Carol. « STRUCTURAL ISSUES IN LUTOSLAWSKI'S SYMPHONY NO. 4 ». University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991311116.

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11

Niepoetter, Jay Eric. « Solo and chamber music of Pulitzer Prize-winning composers ». College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/242.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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12

Rothenberg, Florie. « Music for clarinet and string quartet by women composers ». Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

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This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.

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13

Ellsworth, Jane Elizabeth. « Clarinet Music by British Composers, 1800-1914 : A Repertorial Survey ». The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392140520.

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14

Harrington, E. Michael. « Some observations on the sociological role of the composer in the twentieth century / ». The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu148726155305711.

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15

Hultgren, Ralph Harold. « Why do I compose ? An Autoethnographic Examination of a Composer's Compositional Process ». Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367247.

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Why do I compose? is an autoethnographic examination of this composer's compositional process. It interrogates that process in an intimate and highly personal manner with an unashamed focus on the impact life events have had on him and his family. It unpacks not only the compositional outcomes but considers how the works then impacted upon others - conductors, performers and those who experience the work as audience members or listeners to recordings. The submission includes a substantial folio of original compositions that range from works for young musicians to professionals. Included are the compositions themselves, with sketches/ manuscript scores and published editions/ as well as1 where possible, audio and video recordings. A detailed synopsis of each work is given which includes data such as the type of ensemble/ the duration, the date of the composition/ the commissioner (if a commissioned work)1 as well as outlining the context for the creation of the work/ the premiere/ and publication. These synopses also link to specific responses to the work from others and1 at times/ personal reflections from the composer.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text

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16

Fuller, Sophie. « Women composers during the British musical renaissance, 1880-1918 ». Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.263601.

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Powell, Jonathan Anthony. « After Scriabin : six composers and the development of Russian music ». Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251478.

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CHOI, YOUNG JU. « SURVEY OF CHORAL MUSIC BY SELECTED TWENTIETH-CENTURY KOREAN COMPOSERS ». University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116369655.

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19

Taliani, Alexandra R. « An Annotated Catalog of the Music of Eusebia Simpson Hunkins in the Music and Dance Library Special Collections Room and the Mahn Center for Archives and Special Collections of Ohio University ». Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1587141633610687.

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20

Wiley, Christopher. « Re-writing composers' lives : critical historiography and musical biography ». Thesis, Royal Holloway, University of London, 2008. http://digirep.rhul.ac.uk/items/51c986f5-ea02-d3b8-03e2-6ab2b962a61f/1/.

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Recent musicological discourse, while frequently considering issues of historiography and canonicity, has seldom critically engaged with biography as a genre of documentary significance to reception history for its attempts to shape public opinion of its subjects. In consequence, modern musicology has often taken for granted many tendencies and preoccupations that accumulated in musical biography in the late nineteenth and early twentieth centuries. This thesis presents a historiographical examination of the precedents for and accretions of these assumptions, in terms of the role played by biography both in the establishment and maintenance of ideological canons and in the resultant ‘top-down' conception of music history as dominated by an elite handful of exalted composers. Exploration of the ways in which biographies constructed their subjects as ‘great' and ‘exemplary' – insofar as these concepts were idealized within the communities of readers for whom they were originally written – is conducted through two major studies of the published texts to c.1950 on canonical composers including J. S. Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Wagner, Brahms, and Tchaikovsky. The first investigates the elaboration and distortion of a set of some twenty-five of the most famous myths of musical biography, from their origins in late eighteenth- and early nineteenth-century Continental European texts to their fullest development (and, in many cases, their refutation) in English-language biographies up to the mid-twentieth century. In contrast, the second critically analyzes the twelve volumes of the original ‘Master Musicians' series (1899-1906) as exemplars of the biographical and musical paradigms of composer life-writing, and as late Victorian period pieces of significance to canon formation for their conception as a closed set of monographs of historically-important subjects appropriated to English ends. The conclusion provides a preliminary assessment of the implications to modern musicology of the findings of this thesis through re-evaluation of elements of recent biographical and hermeneutical scholarship, and proposes that the discipline might usefully adopt a more inclusive, self-reflexive approach to the study of musical biography in the future.

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21

Siegfried, Abbey Hallberg. « Contemporary American organ music : defining the compositional potential of the pipe organ in conversations with composers / ». Thesis, Connect to this title online ; UW restricted, 2005. http://hdl.handle.net/1773/11366.

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22

Webb, Clare Louise. « An annotated catalogue of selected works for clarinet by South African composers ». Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8030.

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The dissertation consists of an annotated catalogue of nineteen selected works for clarinet by South African composers. These are presented in chronological order, based on the year of composition. A short biographyof the composer is given before the work is discussed. Of the analysed works, all those for solo clarinet or for clarinet and piano have been graded. A thesis of a similar nature, written in 1989 by L.A. Hartshorne, entitled ""The Compositions for Clarinet by South African Composers"", contains details of twenty-four works written between 1928 and circa 1981. The majority of the compositions analysed in the current dissertation were written from around 1981 onwards, and to some extent, therefore, this research could be seen as complementary to the information contained in the aforementioned thesis. An addendum lists all the South African works featuring solo clarinet that the author was able to trace. These include solo works, cham ber works for up to nineteen instruments and concerto-type works with strings or orchestra.

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Choi, Moonsun. « A brief evaluation of selected solo piano music by Latin American composers / ». The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862972135188.

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Browne, Lisa Ann. « The late twentieth-century American Organ Chorale : a study of six composers / ». The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488204276530766.

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Norris, Marcus Duane JR. « Brown Eyes, Black Magic ». FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3270.

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This thesis consists of a large composition for chamber orchestra titled Brown Eyes, Black Magic and an accompanying analytical paper. The piece, approximately twelve minutes long, is a tribute to women of color in America. The title pays homage to the “Black Girl Magic” campaign that CaShawn Thompson founded in 2013 to empower women of color by highlighting their achievements in different fields (Wilson 2016). Although the piece is not programmatic, I tried to create a mysterious sound world, in which the listener focuses on the beauty of ever-shifting sonic colors. The composition explores musical texture and timbre, and is influenced by the works of Orlando Jacinto Garcia, Georg Friederich Haas, Krzysztof Penderecki, Arnold Schoenberg, and Anton Webern.

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Schröder, Gesine. « Mendelssohn - a model for young composers ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61678.

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In der zweiten Hälfte des 19. Jahrhunderts spielte Mendelssohns Musik in Kompositionslehren noch eine keineswegs unbedeutende Rolle. Insbesondere in deren Abteilungen zur sogenannten freien Komposition, soweit sie Fragen der musikalischen Form und der Orchestration betrafen, wurde Mendelssohn oft zitiert. Vor allem in Salomon Jadassohns Kompositionslehre erlangte sein Werk Modellcharakter. Der Beitrag zeigt, wie dieser Lehrer am Leipziger Konservatorium im späten 19. Jahrhundert auf der einen Seite Mendelssohns musikalische und ästhetische Haltung fortwirken lassen wollte, wie er sich jedoch andererseits bereits vorsichtig von gewissen Aspekten des Mendelssohnschen Komponierens distanzierte. Aus um 1900 geschriebenen Lehren verschwindet Mendelssohns Name zusehends ebenso wie die Namen jüdischer oder französischer Komponisten wie Halévy oder Meyerbeer
In the second half of the 19th century Mendelssohn’s music played a prominent role in treatises upon composition. Especially the volumes on socalled „free composition“, including recommendations concernig musical forms, instrumentation and orchestration, often quote from his works. Mendelssohn claimed the figure of a model-composer. The paper concentrates on Mendelssohn as a model for young composers, as it was given by teachers at the Leipzig conservatoire. Treatises upon musical forms and instrumentation, written by Mendelssohn’s successors at the conservatoire show how the teachers on the one hand try to continue Mendelssohn’s compositional attitude and on the other hand try to part themselves from certain aspects of Mendelssohn’s music

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Milledge, Anthony. « The music of Dyricke Gerarde ». Thesis, Durham University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369925.

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Keith, Mathieu. « Collaboration in Opera Composition : Writing an opera with three composers ». Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79129.

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Music is full of collaboration, between composers and musicians, musicians with each other, or composers with directors, to name a few. Not as commonly found are collaborations between multiple composers. Some works, such as Hexameron, (Liszt, 1839) were written as variations on a theme by several composers, but even rarer are single works written collaboratively by multiple composers. How would one set out to create a work with multiple composers? Can a group of composers collaborate to create a single, unified vision with a similar voice? What obstacles would arise from such a project? This thesis sets to answer these questions and more, and details the process in which myself and two composers created an operetta in three acts. We will walk through every step of our journey, from the first meeting to the writing process to the final product and concert. The aim of this thesis is to explore how a collaboration of composers can work, the problems that may arise and how to potentially avoid them. If these aims are achieved, this thesis may serve as guidelines for other composers wishing to collaborate on similar projects.

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Ohki, Hitomi. « American Poet Emily Dickinson Set to Music by 20th Century Composers ». Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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Stambler, David B. « Selected solo music for saxophone by United States composers, 1975-2005 ». College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9711.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Bortz, Yuri. « Selective American perspectives on issues of Twenty-First-Century musical progress ». Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1110210137.

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Thesis (D.M.A.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiv, 128 p. Includes bibliographical references (p. 128). Available online via OhioLINK's ETD Center

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Skinner, Graeme. « Toward a general history of Australian musical composition : first national music, 1788-c.1860 ». Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7264.

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This study is a first attempt at a history of musical composition in early colonial Australia. It demonstrates that the existing general literature gives an inadequate account of the role of composers, and the function and reception of locally composed music within colonial society. That such a study has not been undertaken earlier is due partly to a lingering historical prejudice that the music itself is not very interesting, and not very good; and partly to the intractability of musical and documentary sources. Since 2005, a National and State libraries initiative has built a freely accessible online archive of around 300 printed early colonial compositions; nevertheless, most of these prints were undated, and few of the works or composers featured in previous literature. Since 2008, another NLA initiative, Australian Newspapers 1803-1954, has solved the documentary problem, with its searchable online archive of the colonial press. Using both new resources, it has been possible for the first time to date almost all of the existing prints precisely, and to identify from press advertisements a further 140 prints that are presumed lost. Systematic searches also identified a large number of unpublished compositions previously unknown. Since manuscripts survivals from this period are rare, almost none of these works is still extant. However, their identification adds greatly to the understanding of the profile of composed music in the era and to the careers of individual composers. Whereas fewer than 50 individual works have been cited in previous literature on the period, an appendix checklist identifies 880. This new data is used to chronicle the early history of compositional activity in Australia, from the European takeover onward. While no attempt has been made to hypothesise prior creative activity, early European transcriptions of Indigenous song, characterised at the time as the authentic "Australian National Music", are one focus of the early chapters. Early colonial composed music, meanwhile, answered the immediate needs of the founding British colonial establishments, and later settler colonial society, mainly in dance music and songs. A first performance by professionals (theatre and concert artists, and military bands) was often followed by publication in sheet music format for the domestic market, complementing a limited supply of imported print music. Composers also regularly arranged and reorchestrated imported theatre music for local forces, and improvised. The press greeted new works as contributing to "colonial production" and social improvement. Contemporary commentators theorised that local conditions — geographic, climatic, social, and economic — would help form an Australian national music distinct from its British and European antecedents. The study argues that, responding creatively to colonial realities, composers indeed produced a body of music locally distinctive, modest in ambition, broad in appeal, and functionally supportive of social and national interests. Insufficient infrastructure to support advanced repertoire and larger forms effectively quarantined Australia from canonic influence until the 1860s, allowing a popular early-Romantic music culture to continue to flourish in isolation. The study provides the first bibliographic apparatus and historical framework to assist researchers, performers, and students in using the online materials. The online format prototypes a novel approach to delivering history in which live links to primary sources allow readers to engage with the author's discussion critically.

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Mikkonen, Simo. « Music and power in the Soviet 1930s : a history of composers' bureaucracy / ». Lewiston, N.Y. [u.a.] : Mellen, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017397006&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Brunson, Kerry. « Mass classical| America, accessibility, and the Atlanta school of composers ». Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10137432.

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When Robert Spano joined the Atlanta Symphony Orchestra as music director in 2001, he brought with him a mission to change the soundscape of the American concert hall. His goal, to gradually change the public’s perception of new music by introducing accessible works of lesser-known living American composers, led to sustained partnerships with the composers that came to be known as the Atlanta School. In this project I trace the formation of the Atlanta Symphony Orchestra up to Spano’s appointment as Music Director. I then examine Spano’s model for commissioning new works as both an effective means of disseminating new music and an attempt to “plug into” the standard repertoire. Finally, I explore the notion of “accessibility” as it emerged in the nineteenth century to distinguish between classes of music and to show how the term is wielded in much the same way today to keep modernist ideologies in control of the canon.

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Morgan, Craig Ashley. « The Use of Virtual Instruments by Australian Screen Composers ». Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14884.

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Recent technological advancements, strong competition and targeted marketing strategies by virtual instrument merchants have established virtual instruments and digital instrument samples as essential components of a professional screen composer's toolset. The democratisation of these powerful tools has led to broad accessibility to virtual instruments and the digital sequencing software required to run them. Virtual instruments are portable, powerful, and affordable––they are no longer the exclusive domain of expensive recording studios. This thesis aims to quantify and qualify the parameters surrounding screen music composition in this digital age and introduce to the literature new empirical data together with the experiences of working screen music professionals. This is achieved by following a mixed methods sequential exploratory methodology starting with a survey of Australian screen composers (n=102) where they are asked to answer questions with a recent cue in mind. Informed by the results of the survey, semistructured interviews were conducted and recorded with working Australian screen composers (n=22). When combined the meta-inferences confirm that virtual instruments are vital for Australian screen composers to do their job, especially now that their tools are democratised. Screen composers are able to swiftly create cues that are finished products and not demos for their director and film-team. These changes have also shaped a new paradigm of film and television directors to expect final and completed versions of cues from Australian screen composers and not working drafts.

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Holland, Elizabeth Jane Violet. « Purcell and the seventeenth-century voice : an investigation of singers and voice types in Henry Purcell's vocal music ». Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/5988/.

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This thesis uses the study of Henry Purcell"s vocal music to establish the vocal characteristics of the singers and voice types for whom the composer wrote in London in the seventeenth century. This process is begun in the first chapter by discussing 'The Counter-Tenor Debate' in order to establish the method(s) of vocal production used by Purcell's counter-tenors. This in turn addresses the issue of whether the counter-tenor was a completely different voice type from the tenor, or if they were simply high and low subdivisions of the same voice type. Chapter Two discusses the bass voice, in particular the influence of individual singers in creating voice-type subdivisions, and the dramatic and musical stereotyping of this voice type in Purcell's works. The third chapter takes as its subject Purcell's sopranos and trebles, focussing in detail on the individual singers in his works for the London stage, their vocal characteristics, dramatic stereotyping, and musical influence on the composer. Chapter Four uses the characteristics of each voice type identified in previous chapters to reassign the 'lost" voice types of Purcell's chamber songs and, in conjunction with research into actresses, literature and theatrical convention of the period, provides a first performance voice-type cast list for the opera Dido and Aeneas, as well as offering insight into the possible individuals for whom the work may have been intended. Finally, all the above information gathered is combined with knowledge of seventeenth-century singing techniques gleaned from contemporary sources and the work of modem day scholars to offer advice on the modem performance of Purcell's vocal works in a 'historically- informed' manner.

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Martin, Maria Jose. « Drama and Poetry in the Music of Maria Luisa Ozaita (b. 1939) ». University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006873170.

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Speedie, Penelope Ann. « American operas on American themes by American composers : a survey of characteristics and influences / ». The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487758178236837.

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Yamashita, Wendy T. « Kanai Kikuko : the life and works of a twentieth-century Okinawan composer / ». Thesis, Connect to this title online ; UW restricted, 2006. http://hdl.handle.net/1773/11255.

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Potter, Caroline Lucy. « A la recherche d'Henri Dutilleux ». Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283502.

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Mantzourani, Evangelia. « Nikos Skalkottas : a bibliographical study and an investigation of his twelve-note compositional processes ». Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/nikos-skalkottas--a-bibliographical-study-and-an-investigation-of-his-twelvenote-compositional-processes(ac11ee00-46f6-4fd4-a1d3-b47cfc6790aa).html.

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Powers, Ollie D. « Interactions between composers and technology in the first decades of electronic music, 1948-1968 ». Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1056145.

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New electronic technologies began to appear after 1948 that seemed to promise the infinite expansion of sonic possibilities in music. The ability to record and manipulate existing sounds (as in musique concrete), and to generate new, unknown timbres with electronic generators (as in elektronische musik), provided an extraordinary multiplication of musical resources.Much literature of the period extols the new possibilities offered by electronic music, but the limitations of the technology of the 1950s and 1960s and the interactions that occurred between composers and that technology have been little explored. This study attempts to document some of these interactions.The influences of the equipment and procedures of "classical studio technique" on the resulting music are examined. Selected electronic compositions are analyzed in terms of the equipment employed and the limitations this equipment may have imposed. The study reveals characteristics of certain works that are directly dependent on characteristics of the technology. New devices or procedures developed by composers are also detailed.Areas examined include disc technology, magnetic tape, oscillators and generators, filters, modulators and other devices, techniques of spatialization in multi-channel works, and a sampling of specialized devices or procedures used by individual composers. The influences excercised by voltage-controlled synthesizers, such as those designed by Robert Moog and Donald Buchla, are also discussed.Works by the following composers are studied: Bulent Arel, Henk Badings, Louis and Bebe Barron, Luciano Berio, Robert Beyer, John Cage, Mario Davidovsky, Tod Dockstader, Herbert Eimert, Kenneth Gaburo, Paul Gredinger, Karel Goeyvaerts, Bengt Hambraeus, Pierre Henry, Giselher Klebe, Gottfried Michael Koenig, Gyorgy Ligeti, Otto Luening, Bruno Maderna, llhan Mimaroglu, Pauline Oliveros, Henri Pousseur, Dick Raaijmakers, Pierre Schaeffer, Karlheinz Stockhausen, Vladimir Ussachevsky, and Edgard Varese. The writings of Milton Babbitt, Joel Chadabe, and Gustav Ciamaga also contributed significantly.Supplementary information is provided by Jon Appleton, Joel Chadabe, Tod Dockstader, Bengt Hambraeus, David Keane, Arthur Kreiger, Elliott Schwartz, Daria Semegen, Pril Smiley, Gil Trythall, and Scott Wyatt in response to a questionnaire concerning their experiences with classical studio technique.This study reveals that a wide area exists for further research on this topic.
School of Music

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Safran, Benjamin. « SOUNDING STRATEGY : COMPOSERS’ USES OF SOCIAL JUSTICE AND POLITICAL THEMES IN CONTEMPORARY CLASSICAL CONCERT MUSIC ». Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/570955.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which I discuss). Concurrently with my research, I composed a large-scale experimental work to be used in a protest to demonstrate the potential for contemporary classical music to support nonviolent movements. I organized a pilot performance that brought together music students and community members in the lobby of a large utility headquarters as part of an ongoing campaign for local green jobs in Philadelphia.
Temple University--Theses

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Storer, Stuart. « The piano music of Erik Satie and his influence on later composers / ». Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mums884.pdf.

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Seddon, Laura. « The instrumental music of British women composers in the early twentieth century ». Thesis, City University London, 2011. http://openaccess.city.ac.uk/1172/.

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This study focuses in detail on instrumental chamber music produced by women in the early twentieth century, a particularly fertile and under-represented period with regard to this topic and it draws on aspects of women’s history, British music history and feminist musicology. It argues that the Cobbett competitions instigated by Walter Willson Cobbett in 1905 and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music, including phantasies, written by women in this period. It highlights women’s place in British musical society leading up to and during the First World War and investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. Chamber works for a variety of instrumental combinations by six composers, Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) (all at different stages in their compositional careers at this time) are analysed. This is undertaken particularly with reference to their formal procedures, an issue much discussed by contemporary sources. The individual composers’ reactions (or lack of them) to the debate instigated by the Society of Women Musicians on the future of women’s music is considered in relation to their lives, careers and chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the dissertation draws on primary sources, especially the archives of the Society of Women Musicians and Marion Scott, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.

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Cawkwell, Yumi Hara. « Identity, ethnicity and the international music scene : Oriental composers and Western expectations ». Thesis, City University London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435959.

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Tatar, Jeremy Piotr. « Occupied Memory : Polish Composers and German Music after the Second World War ». Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17912.

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The occupation of Poland by Germany and the Soviet Union during the Second World War had profoundly negative impacts on Polish cultural life. Although conflict ostensibly ended in 1945, the ensuing four decades of communist rule proved just as devastating. Until now, much of the discourse on Poland has concentrated on the effects and legacy of Communism, while consideration of the ‘German question’ has largely been neglected. Using the composers Witold Lutosławski (1913–1994) and Henryk Górecki (1933–2010) as case studies, this thesis focuses on the web of musical interactions between Germany and Poland in the decades following WWII, tracing how these composers came to terms with the music of their occupiers. The investigation is driven by questions intersecting with issues of memory, aesthetics, and national identity: what were Lutosławski and Górecki’s attitudes toward pre-war German music? Did they have similar responses to post-war German music? How were they able to face these problems against the backdrop of Soviet hegemony? Above all, the fundamental debate over music’s ineffable, abstract qualities persists: to what extent is music (and art in general) able to transcend messy cultural concerns, and remain untainted by political events? In asking these questions, I probe the complex artistic landscape of mid-century Eastern Europe, along with music’s specific role in this process of negotiation. Both composers responded quite differently to Poland’s cultural landscape after 1945. Lutosławski retreated into abstraction and sought refuge in realms of music deemed absolute, while Górecki, on the other hand, moved in the opposite direction toward a musical style grounded in the here-and-now, and tethered umbilically to concerns of the everyday. Also telling are the similarities between them: a shared love of Bach and Viennese Classicism, a more equivocal relationship with Schoenberg and his followers, and an underlying, deeply wrought humanism.

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Salido, Caroline Besana. « The Piano Compositional Style of Lucrecia Roces Kasilag ». Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1038863092.

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Panyaniti, Rawin. « Bartók as ethnomusicologist and composer : folk music and art music influences on his musical language ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.

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Marcho, Trevor K. « Socially Responsible Music Repertoire : Composer Gender Diversity in Instrumental Ensembles ». The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593085683940817.

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Thèses sur le sujet « Composers (people in music) »

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