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1
Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt". Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.
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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par LisztLiszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt
2
O'Meara, Connor. "Selected Orchestral Excerpts for Bass Clarinet with Piano Reduction". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984170/.
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The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.
3
Hsu, Yu-Ching. "The Orchestral Mentality of Johannes Brahms' Piano Sonata No. 3". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011840/.
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Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his most mature, comprehensive style. This dissertation will therefore examine the orchestral underpinnings of this monumental work which owes most often its already mature artistic essence to Brahms' multi-instrumental approach.
4
Kim, Grace Jisoo. "Functional Orchestral Collaboration Skills for Wind Band Pianists: A Study Guide". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862795/.
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As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends useful suggestions for acquiring functional skills to solve these difficulties. Pianists can attain professional status by acquiring the functional skills presented in each chapter. The goal of this study is to provide pedagogical support and direction for novice pianists in the larger ensemble collaboration.
5
Carson, Benjamin Leeds. "The self and its pleasures : a collection of music for piano and music for orchestra /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3013702.
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Yun, Hee Sun. "An Orchestral Approach to Johannes Brahms' "Variationen und Fuge über ein Thema von Händel," Op. 24: Orchestral Transcription as an Interpretive Tool". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752377/.
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This dissertation provides an interpretive guide to Variationen und Fuge über ein Thema von Händel, Op. 24, written in 1861 by Johannes Brahms (1833–1897), in orchestral terms, using as basis the orchestral transcription by Edmund Rubbra (1901–1986), published as his Op. 47 in 1938. Not only does Brahms' Variationen present players with considerable pianistic difficulties, its intense harmonic and polyphonic structures make the music sound symphonic. The English composer Edmund Rubbra, a great Brahms enthusiast, transcribed the work for orchestra. The transcription in effect represents Rubbra's interpretation of the piano work as well as his respect for it. When both orchestra and piano versions of a composition exist, pianists may obtain essential musical ideas from studying the orchestral version, just as it is advisable for conductors to study the piano versions of symphonic works, not only those arranged by the composer. Brahms himself was not only a composer but also a pianist and conductor. It is possible that he imagined orchestral sound when composing large-scale piano works such as his Variationen. New experiments in interpretation can offer a refreshing perspective. This study focuses on elements from Rubbra's orchestral version of Variationen that can inform pianists' interpretation.
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Delespaul, Caroline. "Le piano-orchestral en France entre 1835 et 1849 : une écoute de l'oeuvre pianistique". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2087.
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En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orchestrale » dans l’œuvre pianistique et naît alors l’idée d’un piano-orchestral. L’enjeu principal de cette thèse sera de tenter de définir le piano-orchestral français à travers un travail lié à la réception. Nous faisons en effet l’hypothèse que certaines œuvres pour piano ou certains éléments de celles-ci invitent l’auditeur à effectuer un transfert d’idées entre le piano et l’orchestre ou à reconnaître l’ensemble symphonique au clavier. Le piano-orchestral serait alors une écoute de l’œuvre pianistique. En tant que phénomène lié à laréception de l’œuvre, le piano-orchestral appartient au domaine de la verbalisation de la musique et nous avons donc choisi de l’étudier à travers le prisme du discours musical. Notre ambition étant de définir le piano-orchestral, nous avons décidéd’interroger son élaboration et ses fondements en nous concentrant sur ses prémices. Notre recherche s’étendra donc de 1835 à 1849 ; une période correspondant à la reconnaissance de l’idée jusqu’au début de sa remise en questionIn France, the idea of an orchestral piano was born during the first half of the 19th century. Since the early decades, many commentators recognized in the keyboard instrument the ability to reproduce the orchestra by itself and the writingsestablished a close relationship between the piano and the orchestra. In the collective unconscious, the piano soon became a "complete small orchestra" as the use of this qualifier as a common reference shows. In the shadow of this thought, the idea of including an “orchestral figure“ into the pianistic work was developed and thus the idea of an orchestral piano. The main challenge of this thesis will be to attempt to define the French orchestral piano through the study of its reception. Indeed, we hypothesise that some works for piano or some parts of them invite the listener to make a transfer of ideas between the piano and the orchestra or to recognize the orchestra on the keyboard. The orchestral piano would then be a listening to the pianistic work. As a phenomenon related to the reception of the work, the orchestral piano belongs to the domain of the verbalization of music and we therefore chose to study it through the prism of musical speech. Our ambition being to define the orchestral piano, we decided to question its elaboration and its foundations by focusing on its infancy. Our research will consequently extend from 1835 to 1849, a period corresponding to the recognition of the idea until the beginning of it being brought into question
8
Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction". Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2002.Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
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Chang, Liang-Fang. "The orchestral elements in Franz Schubert's Wanderer fantasy-with implications for piano performance". Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2680.
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Most pianists and music scholars consider Schubert's Wanderer Fantasy his most virtuosic piano work. The piece was written in November 1822 when the composer was twenty-five. By that time, Schubert was known for his lieder and some four-hand piano works, which were written in a very lyrical style. In comparison to these works, the Fantasy was written with a demanding technique requiring a richer, orchestral sound. The technical demands of the Wanderer Fantasy at times cause pianists to injure their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh. This type of thick texture may have prompted Robert Schumann's comments in his 1828 review of the Fantasy (M.J.E. Brown, Schubert, A Critical Biography [London: Macmillan & Co., 1958], 124.): Schubert would like, in this work, to condense the whole orchestra into two hands...
This essay will address two main subjects: first, the Fantasy will be considered from an orchestral perspective with reference to Schubert's own symphonic writing; second, this essay will seek to assist the pianist in producing a better sound, as well as avoiding injury. It is this essay's thesis that Schubert, when composing the Wanderer Fantasy, was actually constructing an orchestral plan under the guise of a piano score. In order to analyze Schubert's orchestral writing, this essay will be divided into four chapters. Chapter one will offer the historical background of the Wanderer Fantasy, chapter two will discuss Schubert as a symphonist as well as the Unfinished Symphony, which was written only two weeks before the Fantasy. Chapter three, based on the parallel orchestral elements found in the Unfinished Symphony piano sketch, will discuss the relationship between the piano sketch of the Symphony and the Wanderer Fantasy. Following this comparative analysis, chapter three will also offer practical performance suggestions based on previously discussed orchestral elements for the pianist. Chapter four presents conclusions offered by the author. The conclusions reached in this essay are presented in the hope that they will assist the pianist to achieve a more meaningful performance when performing the Wanderer Fantasy.
10
Jeoung, Ko Eun. "Bohuslav Martinů's Oboe Concerto, H. 353: A New Piano Reduction of the Orchestral Score". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752395/.
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Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.
11
Edwards, Peter Ivan Edwards Peter Ivan. "Two explorations in musical objects /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170275.
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Thesis (Ph. D.)--University of California, San Diego, 2005.Includes 2 compositions: Puer natus est nobis (zu irgendeiner Zeit) for full orchestra, and Annicha, for flute, clarinet, and piano. Vita. Includes audio reel tape of compositions (analog, stereo., 7 1/2 ips : 7 in.).
12
Zamparas, Grigorios. "Beethoven's Piano Concerto in E-Flat WoO 4: A Piano Reduction of the Full Orchestral Score Based on Jon Ceander Mitchell's Reconstruction". Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/6.
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Beethoven wrote his earliest piano concerto, the Piano Concerto in E-Flat Major WoO 4, in 1784-85. The surviving manuscript copy contains the solo part complete and a piano reduction of all orchestral passages (Tutti) whenever the soloist is not playing. That manuscript also includes Beethoven's cues for an instrumentation consisting of strings, horns and flutes. Eminent Beethoven scholar Willy Hess completed his own reconstruction of the concerto in 1943. His version has been recorded three times, but only one is currently available on the Philips label (442580-2). The newest reconstruction of the concerto, created by Professor Jon Ceander Mitchell in 2003, is presented in this study in the form of a piano reduction (as a two-piano critical edition). This present edition, edited by Dr. Mitchell and the author of this essay, retains Beethoven's instrumentation and restores the endings of the second and third movements (which were changed by Willy Hess). This study also includes a piano cadenza for the first movement, which is a free composition by the author. It also discusses both available restorations of this work and some of the concerto's interpretative issues.
13
Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.
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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.
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Bell, James Andrew, e andrew bell@anu edu au. "The Underwater Piano: A Resonance Theory of Cochlear Mechanics". The Australian National University. Research School of Biological Sciences, 2006. http://thesis.anu.edu.au./public/adt-ANU20080706.141018.
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This thesis takes a fresh approach to cochlear mechanics. Over the last
quarter of a century, we have learnt that the cochlea is active and highly tuned,
observations suggesting that something may be resonating. Rather than accepting the standard traveling wave interpretation, here I investigate whether a resonance theory of some kind can be applied to this remarkable behaviour.¶
A historical survey of resonance theories is first conducted, and advantages
and drawbacks examined. A corresponding look at the traveling wave theory
includes a listing of its short-comings.¶
A new model of the cochlea is put forward that exhibits inherently high
tuning. The surface acoustic wave (SAW) model suggests that the three rows of outer hair cells (OHCs) interact in a similar way to the interdigital transducers of an
electronic SAW device. Analytic equations are developed to describe the conjectured interactions between rows of active OHCs in which each cell is treated as a point source of expanding wavefronts. Motion of a cell launches a wave that is sensed by the stereocilia of neighbouring cells, producing positive feedback. Numerical calculations confirm that this arrangement provides sharp tuning when the feedback gain is set just below oscillation threshold.¶
A major requirement of the SAW model is that the waves carrying the feedback have slow speed (5-200 mm/s) and high dispersion. A wave type with the
required properties is identified - a symmetric Lloyd-Redwood wave (or squirting wave) - and the physical properties of the organ of Corti are shown to well match those required by theory.¶
The squirting wave mechanism may provide a second filter for a primary
traveling wave stimulus, or stand-alone tuning in a pure resonance model. In both, cyclic activity of squirting waves leads to standing waves, and this provides a physical rendering of the cochlear amplifier.
In keeping with pure resonance, this thesis proposes that OHCs react to the
fast pressure wave rather than to bending of stereocilia induced by a traveling wave. Investigation of literature on OHC ultrastructure reveals anatomical features consistent with them being pressure detectors: they possess a cuticular pore (a small compliant spot in an otherwise rigid cell body) and a spherical body within (Hensens
body) that could be compressible. I conclude that OHCs are dual detectors, sensing displacement at high intensities and pressure at low. Thus, the conventional traveling wave could operate at high levels and resonance at levels dominated by the cochlear
amplifier. ¶
The latter picture accords with the description due to Gold (1987) that the cochlea is an underwater piano - a bank of strings that are highly tuned despite immersion in liquid.¶
An autocorrelation analysis of the distinctive outer hair cell geometry shows
trends that support the SAW model. In particular, it explains why maximum
distortion occurs at a ratio of the two primaries of about 1.2. This ratio also produces near-integer ratios in certain hair-cell alignments, suggesting that music may have a cochlear basis.¶
The thesis concludes with an evaluation and proposals to experimentally test
its validity.
15
Ties, Bo Michael. "An orchestral approach to the piano works of Gabriel Dupont: remembering and recording a forgotten musician". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6312.
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Throughout the history of music there have been numerous composers who were well-known in their lifetimes yet faded from public performance and memory after their deaths. Some were remembered many years later and became the most prominent composers in western music. Others did not receive any such resurgence of interest.
Gabriel Dupont (1878-1914) was a rising star in French music when he passed away at the age of 36. His operas, piano music and songs were widely known during his life, but he was virtually forgotten by the end of the 20th century. Since around 2000, there has been a growing interest into the life and music of this figure. Dupont has become more well-known to French audiences but less so to audiences elsewhere. This project aims to change that and spread awareness of Dupont in the United States. The twenty-four mature piano pieces by Dupont are significant contributions to French piano music and deserve such a recognition.
This thesis is in two parts: 1) a complete studio recording of Dupont's piano music, including the world premiere of two sets of pieces he wrote in his youth, and 2) an accompanying paper exploring the life and music of Dupont.
16
Clarke, Simon. "A critical study of Ravel's orchestral technique with a transcription of his sonata for violin and piano". Thesis, University of Manchester, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548668.
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Carenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt". Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.
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L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le piano moderne, cet exercice lui permet d’acquérir une certaine connaissance de l’écriture orchestrale de son temps. Ce postulat prend tout son sens lorsqu’on observe que parmi les auteurs que Liszt transcrit le plus et en premier se trouve Berlioz, habituellement considéré comme l’inventeur de l’orchestre moderne.L’approche adoptée s’inscrit dans deux champs de la musicologie traditionnelle, l’analyse et l’histoire, et dans une branche plus récente de la discipline, les études génétiques. Il est effectivement nécessaire de replacer tout d’abord chaque transcription dans son contexte, pour évaluer l’influence des réécritures lisztiennes d’œuvres de Berlioz sur l’élaboration de sa propre écriture orchestrale. Par ailleurs, le point de vue se place du côté de la création : l’analyse d’une grande quantité d’esquisses et de brouillons donne des informations sur la manière dont Liszt aboutit à l’écriture orchestrale qui est la sienne dans la décennie 1850, au cours de laquelle il produit la majeure partie de ses œuvres symphoniquesThe object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)
18
Marshall, Eldred. "Conducting from the Piano? A Tradition Worth Reviving?" Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157619/.
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Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.
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Grant, John Ward. "Folio of compositions and critical commentary /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.
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Thompson, Joshua Ketring. "Libby Larsen's Concerto for Trumpet and Orchestra: an overview and reduction of the orchestral score for trumpet and piano". Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1093.
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Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, orchestral and academic communities by way of providing an historical account of the commission project; showing insight into the composer's inspiration for the work; and providing a reduction of the orchestral score for trumpet and piano.
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Lucas, Sarah Marie. "Fritz Reiner and the legacy of Béla Bartók’s orchestral music in the United States". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6608.
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During Fritz Reiner’s forty-year conducting career in the United States, he championed Béla Bartók’s orchestral music, programming Bartók’s orchestral works on over sixty concerts with the Cincinnati Symphony Orchestra, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, and with other major American orchestras. These included performances in which the composer himself appeared as a soloist. Moreover, Reiner continued to conduct Bartók’s music following the composer’s death, and his efforts to promote Bartók’s works contributed to their significance to the American orchestral repertoire. The thesis explores connections between performance markings in Reiner’s personal copies of Bartók scores and the recordings he made of them, the ways in which Reiner’s live performances and recordings of Bartók’s music affected the American reception of Bartók’s works, and how Reiner’s collaboration with Bartók related to the revision of Bartók’s orchestral works in their published forms through case studies of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and The Miraculous Mandarin.
The first case study considers Bartók’s performances of his Piano Concerto no. 1 with Reiner during his first U.S. concert tour of 1927-1928. Following an overview of Bartók’s activities in America during that time, three first-edition scores of Piano Concerto no. 1 are analyzed in order to show the significance of handwritten additions, corrections, and conducting markings made by Fritz Reiner, a Universal Edition staff member, and Serge Koussevitzky in preparation for performances with Bartók in 1928. It not only provides a window into early performances of the work with the composer at the piano in the absence of a recording, but also offers insight into Bartók’s preferences for performance of the work, some of which are reflected in the first or second editions of the work, and some of which are only preserved in Reiner’s scores. The second case study examines a new source for Bartók’s Concerto for Orchestra held at Northwestern University that bears extensive corrections by Bartók, as well as Reiner’s conducting markings. It discusses the circumstances surrounding Reiner’s acquisition of the score and its role in Reiner’s performances and recordings of Concerto for Orchestra with the Pittsburgh Symphony Orchestra and the Chicago Symphony Orchestra. The third and final case study details Reiner’s preparation and performance of two concert versions (“Scenes” and “Suite”) of Bartók’s pantomime The Miraculous Mandarin using Reiner’s annotations to four versions of the score held at Northwestern, Bartók’s correspondence with his publisher, and program notes from Reiner’s 1927 world premiere of the “Scenes” to provide a better understanding of Reiner’s preparation and performances of both the “Scenes” and “Suite.” It further analyzes press coverage of his performances of the “Suite” to demonstrate that the press reaction to objectionable elements of the plot mellowed over time, and that critics consistently praised Reiner’s expert preparation and interpretation of the work. The thesis considers the publication and performance history of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and the concert versions of The Miraculous Mandarin in terms of Reiner’s collaboration with Bartók, his role in the promotion of Bartók’s music in the U.S., and his reputation as an authoritative interpreter of it.
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Fateeva, Anna A. "Three Arias From Mozart’s Don Giovanni: a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.
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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.
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Chan, Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok. "Inspired by the Hindu tradition compositions and reflections /". Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37933966.
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陳錦標 e Kam Biu Joshua Chan. "Portfolio of original compositions". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.
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Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16097/1/Vicky_Yang_Thesis.pdf.
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As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences
dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original
form. With this in mind, it can be argued that piano transcriptions of music originally
written for instrumental ensemble is still a viable form of musical expression, because the
piano is still the most widely used medium for the performance of art music in the Western
world. Transcriptions of instrumental and vocal music expand the listening audience for a
composer's music while they also increase the repertoire of music for the piano for both
amateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts:
1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis.
2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's The
Sleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overview
of piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.
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Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16097/.
Texto completo da fonteResumo:
As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original form. With this in mind, it can be argued that piano transcriptions of music originally written for instrumental ensemble is still a viable form of musical expression, because the piano is still the most widely used medium for the performance of art music in the Western world. Transcriptions of instrumental and vocal music expand the listening audience for a composer's music while they also increase the repertoire of music for the piano for both amateurs and professionals. The CD recording has the aim of providing a reference on which to base an appreciation of Pletnev's work. As the orchestral score is quite well known, the differentiation created by Pletnev, and the quality of his work, can be immediately perceived by hearing the execution of his scores and being able to cross reference his reductions with the original score. Timing references for the piano score have been included to further facilitate this cross-referencing. This thesis comprises two parts: 1. A performance CD of Stravinsky's Petrouchka (1922 piano four-hand version) and Tchaikovsky's Sleeping Beauty (1999 solo piano transcription by Mikhail Pletnev). This accounts for 75% of the thesis. 2. An exegesis, analysing selected portions of the orchestral score of Tchaikovsky's The Sleeping Beauty Op.66 and Pletnev's piano transcription suite, prefaced by an overview of piano transcriptions from Liszt to Pletnev. This accounts for 25% of the thesis. The exegesis argues that, while seeking to recreate the colour and drama of Tchaikovsky's orchestral score within the context of a virtuosic piano solo, Pletnev has managed to transcribe Tchaikovsky's score faithfully with minimal alterations.
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Chan, Sze-rok, e 陳詩諾. "Inspired by the Hindu tradition: compositionsand reflections". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.
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Cheng, Yu-sum Anthony, e 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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Hines, John. "Folio of compositions /". Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.
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Kraevska, Sofia. "Terra Mirabilis: A Composition for Symphony Orchestra in Three Movements". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/199.
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Terra Mirabilis is a three-movement musical composition for symphony orchestra with piano solo inspired by natural landscapes photographed by the composer. The three movement composition and its corresponding landscapes portray three times of a day: early morning (I. The Mists), evening (II. Oceanus), and late night (III. Nocturne). Each chapter is devoted to the discussion of one movement, wherein overall concept and form are addressed, followed by detailed analyses of harmonic structure, motivic and thematic development, orchestration, and representational elements. As a complement to the score and the text, a CD-R audio recording of orchestral mock-ups accompanies this dissertation.
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Macauslan, John. "Schumann's music and Hoffmann's fictions". Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.
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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestücke (1837-38) as a humorous sequence of dream images, resonating with literary tales of the artist’s development, not least those in Hoffmann’s Fantasiestücke. Kreisleriana (1838), a finished masterpiece, suggests improvisations on melodic fragments appearing also in popular tunes used both in trivial variation sets and in Bach’s Goldberg Variations – which figure in Hoffmann’s Kreisleriana as opposed emblems of the philistine and the profound. Nachtstücke (1839-40) creates from plain rondos a paradoxically unsettled set, expressive of profound mental disturbances explored by Hoffmann’s book of that name. I bring out in each work previously unexamined patterns of melody, tonality, metre, sonority and form, showing how these become threads expressive of drama, emotion or symbolism. Unusually, I do not take Schumann’s approach over the 1830s as static: increasingly powerful musical means gave the music greater independence from supporting words, and what Schumann called ‘poetic’ threads increasingly coincide with core musical processes. Equally unusually, I describe those processes as resonating simultaneously with Schumann’s titles, with his culture including Hoffmann, and with his concerns around the time of composition as documented in his letters, criticism, diaries and Mottosammlung. Unlike previous work the thesis treats its subject consistently at three levels. My approach to the interpretation of the individual works at the first level is consonant with Schumann’s aesthetics as described at the second: there I focus more sharply than previous treatments on his stated view that musical works can ‘express’ ‘remote interests’ including literature, and on how he thought that possible – points that, given sensitivity to contemporary connotations and to context, emerge from his writings. Finally, at a third level, I reflect on the approach in the light of strands of musicological and intellectual thought in Schumann’s day and since.
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"A Methodology of Rewriting Orchestral Reductions for Piano". Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15993.
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abstract: Numerous orchestral reductions for piano are plagued by cumbersome passages that impede pianists from delivering phrases with flow and elegance. The vocal works of George Frideric Handel (1685–1759) and Richard Wagner (1813–1883) are among the more unwieldy of these. While arrangers of the piano vocal scores by these two composers admirably include as much orchestration as possible, their efforts often result in writing that is not idiomatic for the piano. The frustrating difficulties in the orchestral reductions of Handel’s “Empio, dirò, tu sei” (Giulio Cesare), his Messiah chorus “For unto us a child is born” as well as Wagner’s aria “Du bist der Lenz” (Die Walküre) all plead for a new, fresh arrangement for the working pianist. Concerning itself with the formation of one’s hands, stamina preservation, and the need to give proper support to the singers, this paper makes examples of these three pieces to document and justify the steps and techniques one may take to customize both these and any variety of orchestral reductions. With great emphasis on the methodology of rewriting operatic and choral orchestral reductions, this document presents newly arranged note–for–note piano vocal scores of the above arias and chorus. By customizing and rewriting complex scores, our partners benefit by singing above the identical accompaniment every time. It is the intent that the collaborative pianist can apply these methods to future rewrites, with the result of producing scores that are conducive to proper technique and flow.Dissertation/Thesis
D.M.A. Music 2012
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Klefstad, Kristian Iver. "Style and technique in two-piano arrangements of orchestral music, 1850-1930". 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075615.
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"Portfolio of music compositions". 2002. http://library.cuhk.edu.hk/record=b5895999.
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Quartet -- Bagatelle-Kyrie eleison -- Déploration.Wu Ming-yiu.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2002.
Abstracts in English and Chinese.
Abstract --- p.i
Table of Contents --- p.ii
Acknowledgements --- p.iii
Compositions
Chapter 1. --- Quartet --- p.1
Chapter 2. --- Bagatelle - Kyrie eleison --- p.34
Chapter 3. --- Deploration --- p.47
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Bell, James Andrew. "The Underwater Piano: A Resonance Theory of Cochlear Mechanics". Phd thesis, 2005. http://hdl.handle.net/1885/49307.
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This thesis takes a fresh approach to cochlear mechanics. Over the last quarter of a century, we have learnt that the cochlea is active and highly tuned, observations suggesting that something may be resonating. Rather than accepting the standard traveling wave interpretation, here I investigate whether a resonance theory of some kind can be applied to this remarkable behaviour.¶ A historical survey of resonance theories is first conducted, and advantages and drawbacks examined. A corresponding look at the traveling wave theory includes a listing of its short-comings.¶ A new model of the cochlea is put forward that exhibits inherently high tuning. ...
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Kang, Jin-Young. "Resonance and dissonance in contemporary impressionistic music /". 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546.
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Thesis (M.A.)--York University, 2008. Graduate Programme in Music.Typescript. Includes bibliographical references (leaves 52-53). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546
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"Revising Les nuits d'été Op. 7: A New Version for Voice and Piano Following a Comparative Analysis of Berlioz’s Original Piano and Orchestral Versions". Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.46223.
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abstract: Louis Hector Berlioz (1803-1869) was a pioneer of 19th century Romanticism in France. In the mid-19th century, he broke the traditional mold by connecting poetry and music through French song. This development transformed French song from the simple and structured Romance of the 18th century into the structural freedom of what he established as the a Mélodie. His song cycle Les nuits d’été, op 7 was composed first for voice and piano in 1841 and later arranged for voice and orchestra in 1856. After the 1856 orchestral version was completed, Les nuits d’été received greater recognition than it had from its original scoring for voice and piano.
This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.Dissertation/Thesis
Doctoral Dissertation Music 2017
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Hardin, Philip Tad Bridger Carolyn Mozart Wolfgang Amadeus. "Effective orchestral accompaniment at the keyboard An evaluation and comparison of piano reductions for Mozart's clarinet concerto /". Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05082006-180649/.
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Treatise (D.M.A.) Florida State University, 2006.Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 60 pages. Includes biographical sketch. Includes bibliographical references.
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"A portfolio of music compositions". 2003. http://library.cuhk.edu.hk/record=b5891434.
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Quintet for winds and piano -- Preludes and fugues for piano solo -- Variation for string quartet.Wong Kong Yu.
Thesis submitted in: December 2002.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves ).
Abstracts in English and Chinese.
Abstract --- p.1 Page
Scores with Notes:
Chapter 1. --- Quintet for Winds and Piano
Note --- p.2 Pages
Score --- p.30 Pages
Chapter 2. --- Preludes and Fugues for Piano Solo
Note --- p.2 Pages
Score --- p.31 Pages
Chapter 3. --- Variations for String Quartet
Note --- p.2 Pages
Score --- p.9 Pages
Total Duration: 38 minutes
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"The Imitation of Orchestral Effects and the Expressive Role of the Piano in Richard Strauss's Sonata for Violin and Piano in E-flat Major, Op. 18". Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25074.
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abstract: The Sonata for Violin and Piano in E-flat Major, Op. 18 (1888), was the last major work of chamber music by Richard Strauss (1864-1949). Although for only two instruments, the Sonata reflects Strauss's growing interest in symphonic writing both in his tone poems and orchestral songs, anticipating his style of orchestration and his expressive use of tone colors. This study examines instances of orchestral writing in the piano and makes suggestions for their performance. An overview of Strauss's compositions, from his early chamber music to the `heroic' symphonic works, places the Sonata in context. An analytical description of each of the Sonata's three movements shows the structure and content of this large work and provides the framework for examination of the orchestral effects in the piano. Comparison of excerpts from the Sonata with passages from Strauss's orchestral writing in Don Juan (1889), "Cäcilie," "Morgen!," and "Lied der Frauen" leads to suggestions for the collaborative pianist of ways to re-create the various orchestral effects.Dissertation/Thesis
D.M.A. Music 2014
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"Composition portfolio of Li Kit-yiu, Emily". Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888413.
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"A portfolio of three musical compositions". 1997. http://library.cuhk.edu.hk/record=b5896235.
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by Hui Cheung Wai.Thesis (M.Mus.)--Chinese University of Hong Kong, 1997.
Chapter 1. --- String Quartet No2
Chapter a) --- programme notes --- p.I. i -ii
Chapter b) --- music score
Chapter ´Ø --- 1st movement --- p.1-15
Chapter ´Ø --- 2nd movement --- p.16 -25
Chapter ´Ø --- 3rd movement --- p.26-51
Chapter 2. --- """Disappearance"" for orchestra"
Chapter a) --- programme notes --- p.II. i -iv
Chapter b) --- music score --- p.1-46
Chapter 3. --- """Wu Wu"" (Sorcery Dance) for piano"
Chapter a) --- programme notes --- p.III. i -ii
Chapter b) --- music score --- p.1-12
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Lee, Kang-jung, e 李康榮. "An Interpretation of Igor Stravinsky’s Three Movements from Petrushka from the Perspectives of Drama, Orchestral Sound, and Piano Techniques". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/64017647752688132960.
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博士輔仁大學
音樂學系
101
In 1921, Igor Fyodorovich Stravinsky’s piano work Three Movements from Petrushka, a transcription from the ballet Petrushka composed by himself, is one of the greatest virtuoso piano pieces in the twentieth century. Yet, a clear difference from the traditional ones lies in the variously rich sonorities which are from the orchestral version. Though Stravinsky emphasized this work was essentially a pianistic piece full of difficult piano techniques. The work completely reveals the thought of orchestral sound in musical texture and dimension. Furthermore, the application of musical elements and various sonorities in each movement is highly related to ballet drama. This dissertation first introduces Stravinsky’s biography and his compositional style, then provides more information of the ballet Petrushka, including its background, plots, and stage performance, as well as formal analyses of Three Movements from Petrushka with a comparison of the ballet scores and piano solo version. Moreover, the arguments on the influence of plots and formal concept are also discussed here as well. Finally, the author provides suggestions on the interpretation of Three Movements from Petrushka from the perspectives of drama, orchestral sound, and piano techniques. It is my hope that this study would help performers better controlling their techniques and deepening their interpretation on the work.
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"A portfolio of music compositions". Thesis, 2014. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1291473.
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"A portfolio of music compositions". Thesis, 2004. http://library.cuhk.edu.hk/record=b6073653.
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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.
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"A portfolio of music compositions". 2006. http://library.cuhk.edu.hk/record=b5896515.
Texto completo da fonteResumo:
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
47
"Conversation, Dark haze, San-shui Xi-nan". 1998. http://library.cuhk.edu.hk/record=b5896306.
Texto completo da fonteResumo:
by Ho Tsz-Yan, Rebecca.Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Chapter Part I: --- p.page
Chapter ´Ø --- Abstract --- p.1
Chapter Part II:
Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3
Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6
Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25
Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28
Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65
Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69
Chapter Part III：
Chapter ´Ø --- Biography --- p.119
48
Johnson, Julie. "A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /". 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.
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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
50
Grant, Quentin Stuart David. "Portfolio of original compositions". 2008. http://hdl.handle.net/2440/51095.
Texto completo da fonteResumo:
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