Tesi sul tema "Songs, secular (Mixed voices), Unaccompanied"

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.

Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.

In the Midst of Spoils is a setting, for SATB choir and small instrumental ensemble, of the poem "Blight," by Ralph Waldo Emerson. Emerson's poem contrasts modern man's exploitative attitude toward nature with the more reverent attitude assumed by ancient or primitive cultures. This setting is in a single movement, approximately twenty minutes in duration, consisting of fifteen distinct sections.

Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette.

This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.
Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.
Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

這作品集共有三首作品：“謎語 I, 110806“ 為四個家居電話而作, “ 影。空“ 一首電子音樂作品, “交響詩“ 為管樂團而作
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

The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig, and Talibun-ag. "Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in essence, a destination of one's life journey. "Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition revolving around a hextatonic scale which goes through a process of change as the music progresses. The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections (ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic scale is the composer's own material injected to some pre-formed structure already existing as in the mentioned ballad. "Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot, tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note that the recording provided with this thesis is simply a reading session of the piece). "Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto flute and percussions), a mono-dramatist and a choral quartet.

Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160

The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.
The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.
Tang Lok-yin.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.
Librettos (1st work) in English ; abstracts in English and Chinese.
Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"
Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas
Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics
Chapter Composition 4 --- Playing Game for Orchestra
Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra
Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra.
Yang Jin Fong.
"June 2004."
Thesis (D.Mus.)--Chinese University of Hong Kong, 2004.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.

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