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Статті в журналах з теми "Orchestral music Scores":
Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.
Urniežius, Rytis. "Two Orchestral Embodiments of Three Pieces from op. 54 by Edvard Grieg." Musicological Annual 56, no. 1 (June 30, 2020): 101–32. http://dx.doi.org/10.4312/mz.56.1.101-132.
Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (December 17, 2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.
Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.
Newman, George. "Ernst Roth: A Personal Recollection." Tempo, no. 165 (June 1988): 37–40. http://dx.doi.org/10.1017/s0040298200024086.
Fischer, Manda, Kit Soden, Etienne Thoret, Marcel Montrey, and Stephen McAdams. "Instrument Timbre Enhances Perceptual Segregation in Orchestral Music." Music Perception 38, no. 5 (June 1, 2021): 473–98. http://dx.doi.org/10.1525/mp.2021.38.5.473.
Miron, Marius, Julio J. Carabias-Orti, Juan J. Bosch, Emilia Gómez, and Jordi Janer. "Score-Informed Source Separation for Multichannel Orchestral Recordings." Journal of Electrical and Computer Engineering 2016 (2016): 1–19. http://dx.doi.org/10.1155/2016/8363507.
Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.
Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.
Anderson, Martin. "London, St John's Smith Square: David Matthews's ‘A Vision and a Journey’." Tempo 58, no. 228 (April 2004): 59–61. http://dx.doi.org/10.1017/s0040298204220150.
Дисертації з теми "Orchestral music Scores":
Maidanik, Victoria. "Vicissitudes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37251.pdf.
Frank, Robert J. 1961. "Temporal Distortions: a Composition for Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.
Au, Siu-ming Stefan. "Sinfonietta." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278459/.
陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.
Godin, Scott 1970. "Weight for orchestra." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84210.
weight is a nineteen-minute composition for symphonic orchestra [2222, 4231, piano, percussion (2 players), timpani, strings (16,14,10,10,8)] which attempts to exploit the various allusions conjured up by the title. The term "weight" implies lightness or heaviness which can be applied to various musical elements (e.g., where a chord is "heavier" than the previous, a rhythm is becoming "lighter," etc.). weight is an attempt to remove the subjectivity surrounding the use of this type of terminology by measuring and developing certain musical elements in a logical and elegant manner.
Following an introductory chapter, the written text focuses on three main components. Chapter Two deals with the harmonic component of weight, first, describing how the harmonic language for the composition has been constructed, followed by a detailed explanation of how the harmonies are given numerical "weights," and subsequently how they are manipulated in the composition. Chapter Three defines and numerically calculates subsidiary elements such as rhythm, orchestration, and a formal element identified as temporal splicing. Chapter Four reveals the overall form of weight , and illustrates through a series of sectional analyses how each subsidiary element interacts with one another in each formal region. The fifth chapter concludes the written text, summarizing the paper and considers future uses of the compositional and analytical methods introduced in this paper.
Jestadt, Jason T. "Desert places : for orchestra." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32833.
Walczyk, Kevin 1964. "Capriccio: A Composition for Symphonic Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935623/.
Gaviola, Natalia. "De azufre y sal." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37296.pdf.
Dehler, Elizabeth. "Now and forever." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79278.
Desjardins, Jacques A. 1962. "Les Chemins de Milarepa /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59549.
The piece can be considered as a free rondo in the sense that it does not necessarily follow the usual plan of the classical rondo. This particular composition sometimes displays two verses in a row, thus trying to introduce some new ideas into this very old type of musical form.
In terms of harmony, the work deals with two basic categories of chords. First, some chords are designed as to show different ways of combining together the two whole-tone scales. Second, the chords sometimes mimic the behaviour of the harmonic series by using a decreasing sequence of harmonic intervals from the lower register to the upper register.
The rhythms of the piece mainly follow Olivier Messiaen's theory of added durations.
Finally, the orchestration aspect basically shows examples of chords which are held still in a certain number of voices while they are slightly ornamented by other voices in the orchestra. This device has simply been named the technique of "simmering sound".
Книги з теми "Orchestral music Scores":
Prévost, André. Fantasmes: [orchestre = orchestra, 1963]. Saint-Nicolas (Québec), Canada: Doberman-Yppan, 2002.
Centre, Australian Music. Orchestral music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1998.
Torke, Michael. Bright blue music: For orchestra. [New York]: Adjustable Music, 1996.
Schwantner, Joseph. Toward light: An orchestral set. Valley Forge, Pa: European American Music, 1987.
Heinrich, Anthony Philip. The wildwood spirit's chant, or, Scintillations of Yankeedoodle: (1842) : a grand national heroic fantasia for a powerful orchestra in 44 parts. Philadelphia: Kallisti Music Press, 1996.
Library, Somerset County. Catalogue of instrumental music, chamber music sets, orchestral parts sets and orchestral/study scores. [Bridgwater]: Somerset County Library, 1986.
Wuorinen, Charles. Crossfire: Orchestra. New York: C.F. Peters Corp., 1985.
Torke, Michael. Ash: For orchestra. [New York]: Hendon Music, 1991.
John, Adams. Lollapalooza: For orchestra. [United States]: Hendon Music, 1999.
Tower, Joan. Sequoia: For orchestra. New York, NY: Associated Music Publishers, 1990.
Частини книг з теми "Orchestral music Scores":
Leman, Marc. "Orchestra Score in CSOUND." In Music and Schema Theory, 197–99. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-85213-8_14.
Smith, Steven C. "The South Is Dead." In Music by Max Steiner, 232–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0016.
Burlingame, Jon. "“This is the way”Music for Cable and Streaming Services." In Music for Prime Time, 399—C12.P127. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0013.
Winters, Ben. "New Opportunities in Film: Korngold and Warner Bros." In Korngold and His World, 111–30. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.003.0005.
"FM Radio and the New Hollywood Soundtrack." In Voicing the Cinema, edited by Julie Hubbert, 54–72. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0004.
Deutsch, Diana. "The Perceptual Organization of Streams of Sound." In Musical Illusions and Phantom Words, 46–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0004.
Smith, Steven C. "Startling, Unusual Sensation." In Music by Max Steiner, 99–117. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0008.
Marlow, Eugene. "Liu Sola: China’s Musically Eclectic Composer." In Jazz in China, 126–35. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0012.
Burlingame, Jon. "“Flintstones! Meet the Flintstones!”Cartoons in Prime Time." In Music for Prime Time, 311—C9.P67. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0010.
"Learning to Collaborate in Code: Negotiating the Score in a Symphony Orchestra Composers’ School." In Collaborative Creative Thought and Practice in Music, 73–87. Routledge, 2016. http://dx.doi.org/10.4324/9781315572635-12.
Звіти організацій з теми "Orchestral music Scores":
Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.