Thematische Bibliographien / Instrumental ensembles / Dissertationen
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Dissertationen zum Thema „Instrumental ensembles“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 29. Juli 2024

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1

Zagorski, Marcus. "And drown the wakeful anguish of the soul." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ43989.pdf.

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2

Zajicek, Daniel J. "A rhetorical guide to Ebb." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/zajicek%5Fdaniel/index.htm.

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Thesis (M.M.)--University of North Texas, 2006.<br>For flute, oboe, clarinet, contrabassoon, horn , tuba, percussion (2 players), 2 violins, viola, cello, double bass, 1 laptop computer, and 2 or more loudspeakers. System requirements: Adobe Acrobat Reader. Duration: 10:00. Includes performance notes by the composer (p. 1-23). Includes bibliographical references (p. 23-24).
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Levine, Josh Levine Josh Levine Josh Levine Josh. "Between image, process, and memory /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049670.

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4

Hindman, Heather. "Macula : for 10 instruments." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116068.

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Macula is a two-movement piece of music written for a mixed ensemble often instruments. The piece explores an aspect of visual perception in which an object seemingly becomes both larger and more detailed as it draws closer. This becomes a metaphor for the structure of the piece, where materials are gradually transformed and re-contextualized to suggest the notion of continually zooming in. The accompanying analytical paper gives a general overview of the procedures and techniques used to organize and compose the piece.
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5

Wannamaker, Robert Alexander. "Grain : for 17 instruments /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236636.

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6

Mascarenhas, João Marcos Gomes. "The three Americas." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4558.

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Thesis (M.M.)--University of Missouri-Columbia, 2006.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 21, 2009) Includes bibliographical references.
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7

Mercer, Christopher Alan. "Untitled : for 10 players /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3077798.

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8

Kronengold, Charles. "Tamburlaine : for twenty three players /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099932.

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Thesis (Ph. D.)--University of California, San Diego, 2003.<br>Vita. For flute, oboe, 2 clarinets, 2 horns, 2 trumpets, trombone, tuba, 2 percussionists, 2 pianos, harp, 4 violins, viola, violoncello, and 2 double basses. Performance instructions precede score. Also available on the World Wide Web. (Access restricted to UC campuses).
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9

Sudol, Jacob David. "Time fixtures." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101832.

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Time Fixtures, a composition for chamber ensemble and electronics, attempts to provide some compelling perspectives on fixing a conception of time. The electronics feature six speakers placed symmetrically around the audience that broadcast live electronic transformations and pre-constructed audio files. The ensemble consists of eleven players: flute (doubling alto flute), oboe, B♭ clarinet (doubling bass clarinet), horn, percussion, harp, piano, MIDI keyboard (doubling crotale/tangkas placed out of sight of the audience), violin, viola, and violoncello. Performance also requires a conductor a
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10

Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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11

Ng, King-pan, and 伍敬彬. "Composing for chinese instrumental ensemble : a practitioner's perspective." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/197560.

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This thesis aims to offer a practitioner’s perspective of composition for the Chinese instrumental ensemble of the twenty-first century. Chinese instrumental music composition has appeared in the concert hall in China since the beginning of the twentieth century. Modeled on western classical music, modern Chinese instrumental music has undergone a series of development and reformation that aimed to merge the Chinese and western musical ideas and techniques. The very role of the composer and the notion of concert-hall practice were being emphasized, whereas various ingrained characters of tradi
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12

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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13

Daigle, Elise. "Examining Music Ensemble Recruitment and Retention through Student Persistence into College Performing Ensembles." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523523995130136.

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14

Quilling, Michael Lance. "Applying rhythm teaching methods in an instrumental ensemble." Kansas State University, 2017. http://hdl.handle.net/2097/38162.

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Master of Music<br>School of Music, Theatre, and Dance<br>Frederick Burrack<br>Finding a systematic process for teaching rhythms in the instrumental setting has presented its own set of challenges. Numerous factors such as time constraints, engagement, motivation, and various degrees of proficiency amongst the students can all play a part in the overall success of the group. This video presentation includes a teaching demonstration utilizing techniques acquired from MU680-A (Advanced Rehearsal Techniques). Using rhythm readiness sheets modeled by Dr. Jay Gilbert and specific rehearsal techniqu
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Bolton, Rose A. "Incidental music of my mind." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21496.

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Instrumentation: 1*(1.=picc.)-1-2*(2.-Bb+bass cl.)-1 / 1-1-1-0 / 2 perc., 1 keyb. (piano+celesta) / 1-1-1-1-1<br>The work is approximately 14 minutes long, and consists of six movements which make up a series of musical tableaux, placing greater emphasis on their contrasting characters instead of on gradual and continuous development of material. These movements take their inspiration from activities or situations encountered in everyday life, thus revisiting the old tradition of "character pieces" as encountered, for example, in the music of many composers such as Schumann, Grieg or Mussorgsk
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Mariner, Justin. "Mile end believing." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23978.

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Mile End Believing is a composition for eight woodwinds, four brass, and two percussionists, with a duration of approximately 13$ sp prime40 sp{ prime prime}.$ The inspiration for the piece is a Montreal neighbourhood whose cultural diversity suggested a number of short sections which, although contrasting, are linked by the nature of their relationship to one another. The eight main sections all have the same duration, and some sections are recapitulated towards the end of the work.
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17

Talpash, Andriy. ""Queezinart---hocket in a blender" for chamber ensemble (Original composition)." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29954.

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Queezinart---hocket in a blender is a composition for five woodwinds, five brass, percussion (two players), piano, two violins, viola, cello and double bass, with a duration of approximately 14 minutes. There are six main sections in this piece. The work is structured so that musical ideas flow smoothly and gradually between sections. Also, the musical events are organized in such a way that the perceived, experienced time is manipulated and distorted, through varying activity and density of musical events.
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18

Mariner, Justin. "Apparent motions." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84209.

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Apparent Motions is an original composition for an ensemble of fifteen musicians consisting of percussion, harp, keyboards, and stringed instruments. This dissertation is comprised of the composition as well as a written analysis of the composition. The analysis presents the most important technical features of the piece, including pitch organization, counterpoint, and motivic elaboration. Techniques are related to the overall objectives of the work, which involve the composer's personal approach to musical time. The particular treatment of time in the piece results from the coexistence
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19

Stecher, David. "Germinal ideas and processes with Plies (2002) a chamber work for eleven players /." connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/stecher%5Fdavid/index.htm.

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Thesis (M.M.)--University of North Texas, 2002.<br>For flute, clarinet, alto saxophone, trumpet, trombone, percussion (2 players), violin, viola, violoncello and contrabass. Duration: 20:00. Includes bibliographical references (p. 39).
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Power, Ian. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464822.

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Thesis (M.A.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 13, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF version of the thesis.
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Carrick, Richard David. "The fall : a multi-media work for three chamber ensembles, three conductors, and large screen video /." 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?p3015908.

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Thesis (Ph. D.)--University of California, San Diego, 2001.<br>Vita. For flute (doubling piccolo), oboe, E♭ clarinet (doubling B♭ clarinet), trumpet, trombone, piano, organ (doubling synthesizer), 2 violins, viola, violoncello, and double bass, with 3 conductors and video projection. Includes performance instructions and frames from the video printed preceding the score.
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Tchamni, Avi. "Press /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3096413.

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23

Anderson, Andrew E. (Andrew Edwin). "Hailstones and Birdcages for Wind Ensemble." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500256/.

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Hailstones and Birdcages is a composition of approximately thirteen minutes' duration and is scored for two flutes and piccolo, two oboes and english horn, three Eb clarinets, E clarinete, bass clarinet, two bassoons, two Eb alto saxophones, Bb tenor saxophone, three Bb trumpets, four F horns, three trombones, euphonium, two tubas, and three percussionists. Four instruments--one each of flute, oboe, Bb clarinet, and trombone--are used in concertante like fashion, and there are prominent solo passages for the first bassoon, as well. The work is a single movement in three sections, fast - slow -
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O'Connor, Alexander J. "A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group Playing." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617960102315298.

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25

Kunaeva, Teresa V. "Music Masters: Facilitating community music participation by older adults in instrumental ensembles." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/390019.

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This thesis examined music participation and non-participation by older adults in Queensland, Australia. It explored why relatively few older adults take up or resume playing a musical instrument despite the reported benefits of participation in community music ensembles. It also sought to better understand the constraints faced by active, older-adult musicians, and how these constraints could be overcome to fulfil music motivations. Specifically, the thesis sought to address the following research question: How can participation by older adults in community music instrumental ensembles be bet
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Wilson, Nathan. "Heartbroken glass in the Sea of Tranquillity : a folio of compositions." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28028.

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The harmonic, rhythmic and timbral revolutions that have characterised musical composition throughout the twentieth century have enabled composers to continually define new methods of musical organisation and thus new means of artistic expression. HeartBroken Glass In The Sea Of Tranquillity is a folio of eleven musical compositions for mixed instrumentation in which musical organisation is influenced by literature, visual art, the calendar, natural phenomena and dream, astronomy, chemistry and physics, technological concepts and cartography. The research supporting these compositions demonstr
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McDonald, Richard F. (Richard Frederic). "Kinetico for Chamber Wind Ensemble." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504015/.

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This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time
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Lizée, Nicole. "RPM : for large ensemble and solo turntablist." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32896.

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The focal point of the work is the turntable and DJ (or Disk Jockey; one who controls the turntables). This concept not only manifests itself through the utilization of actual turntables, but also much of the acoustic material performed by the ensemble consists of "metaphoric turntables". These are contrasting layers of sound superposed over one another that are played by small groups of specific instruments within the larger ensemble. These instrumental groups simulate the sonorities generated through turntable manipulation such as warping, oscillations, crossfading, transforming, and numerou
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Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.

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Elezovic, Ivan. "Echoes : [for] tenor, chamber ensemble & computer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33369.

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Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?<br>As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetiti
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Hodges, Glen J. (Glen John). ""Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and mel
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Radford, Laurie 1958. "The crying wave : (1996)." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34535.

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The Crying Wave is a twenty minute music composition for an amplified ensemble of fifteen instruments combined with a prerecorded electroacoustic audio component and live signal processing. The composition explores the use of fundamental electroacoustic music techniques such as additive, subtractive, and granular synthesis as models for the creation and manipulation of materials and structure in both the instrumental and electroacoustic aspects of the work. Two series of harmonies underlie the piece and serve as both harmonic and melodic resources. Procedures including additive/subtractive dur
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Whitworth, Clifford K. (Clifford Kirk). "Mobiles." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278749/.

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Mobiles is a composition for an ensemble consisting of 12 instruments. The piece, in one movement, incorporates intuition, chance, and twelve tone techniques and reflects the relationship between motion and rest or tension and release. The structure is modeled according to principles of growth and decay, starting off slowly, building, and then dying away. Much of the material is inspired by mental images invoked from modern theories concerning chaos. Mobiles' character stems from the principal use of two motives, the chaos motif and the echo motif. Primarily, the chaos motif is representative
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Johnson, Allison Adah Johnson Allison Adah Johnson Allison Adah Johnson Allison Adah. "Transmission/translation/transgression /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099912.

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Thesis (Ph. D.)--University of California, San Diego, 2003.<br>Vita. "Three related compositions written for string quartet, small ensemble (soprano, violin, viola, cello, flute, clarinet, piano) and percussion duo"--P. viii; 3rd work an open form composition. Also available on the World Wide Web. (Access restricted to UC campuses).
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O'Brien, Mark W. "Crossed lines : for chamber ensemble." Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2298.

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This work was written for ten performers plus tape. The instruments are divided into two groups, each with a distinct personality: flute, clarinet, horn, violin and cello in an "orderly" group, and three percussionists, piano, doublebass and tape in a "chaotic" group. The first two sections introduce these groups separately. The third section returns to the order group, which begins to show a chaotic influence. The fourth section, for tape alone, echoes the first in its stability. The final section, for the entire live ensemble, fuses the two groups into a texture which is not entirely chaotic
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Zajicek, Daniel James. "A Rhetorical Guide to Ebb." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5236/.

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In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art, and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of those influences, the boxes of the American artist Joseph Cornell played a particularly important role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay, instead of being driven by a single thesis, involves the creation of conceptual boxes. These conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers Iannis Xenakis and Gérard Grisey. In
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Mui, Kwong-chiu. "Exploration in new music portfolio of compositions and analysis /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B43894574.

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Mui, Kwong-chiu Tan Dun Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Exploration in new music : portfolio of compositions and analysis /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22132016.

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Thesis (M. Phil.)--University of Hong Kong, 2001.<br>Two sets of recordings included, each in its own container. The first work is for string quartet; the second for bangdi, soprano sheng, yangqin, pipa, guzheng, erhu, gehu and percussion; the third for harmonica quintet, sheng, harp, piano and percussion. "Symphonic poem-Genesis" is for orchestra with piano and celesta. "Ghost opera" is for string quartet and pipa, with water, stones, paper and metal. Includes bibliographical references.
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Stecher, David. "Germinal Ideas and Processes within plies (2002): A Chamber Work for Eleven Players." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3309/.

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The piece is a twenty minute work discoursing the integration and eventual dissolution of two separate musical strands. The pitch material of each strand is determined from synthetic scales whose intervalic content duplicates at the following intervals: Perfect 12th, Diminished 12th, Minor 9th, Perfect 8ve, and Major 7th. A proportional means of temporal compression is generated through the use of the factor, 11/15 (e.g. Event 2 is 11/15 the duration of Event 1). Various elements of jazz music informed the construction of plies, including the instrumentation of the ensemble and the means by wh
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Deyoe, Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg. "A simultaneity of conflicting modes of expression." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453674.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.
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Hall, Alec Hall Alec Hall Alec Hall Alec. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464967.

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Thesis (M.A.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 11, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.
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梅廣釗 and Kwong-chiu Mui. "Exploration in new music: portfolio of compositions and analysis." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894574.

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Sutch, Mark. "Garden of Eden." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc501204/.

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The Garden Of Eden is a ballet for four instrumental quintets: brass, woodwind, string, and percussion. Each ensemble is associated with one of four dancers: God, Adam, Eve, -and the Serpent, respectively. The duration of this ballet is approximately sixteen minutes and is divided into three parts depicting (1) the creation of the world and Adam; (2) the creation of Eve-and the warning about the tree of knowledge; and (3) the Serpent's temptation of the main characters, as well as their subsequent banishment from the garden by God. One of my reasons for composing this work was to answer an imp
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Wilson, Nathan. "The structural use of colour in the music of Michael Whiticker : an analytical study." Thesis, The University of Sydney, 2000. https://hdl.handle.net/2123/28913.

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This dissertation is an exploration of the musical language of Australian composer Michael Whiticker (b. 1954) with specific reference to his use of instrumental colour as a unifying compositional force. Beginning with Robert Erickson’s book Sound Structure ofMusic as a theoretical base this analytical study examines the role sound plays in the development of Whiticker’s compositional language: that timbre, the unique sounds of the musical instruments themselves are a major structural motivation, more so than pitch or duration. The pieces selected for study are: Quidong (1983) for oboe
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Dregalia, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1272374147.

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Dregalla, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784494807576.

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Thorvaldsdottir, Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. "Music and ideas." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453657.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Accompanying disc contains sound files of recordings of the musical compositions. The 1st work for 13 instruments; 2nd for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns; 3rd for voice, 6 stethoscopes, and computer which manipulates sounds picked up by the stethoscopes. Title from first page of PDF file (viewed July 11, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 137.
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Rook, Michael. "Mosaik : für Ensemble /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11282.

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Thesis (D. Mus. Arts)--University of Washington, 2003.<br>For flute (piccolo), alto flute (bass flute), 2 clarinets, French horn, trumpet, 2 percussionists (desk, rubber stamp, stamp pad, oil barrel, large piece of sheet metal, tam-tam, cymbal, sizzle cymbal, thunder sheet, metal beam (piece of railroad track), amplified accordion, 2 pianos, electric guitar (fretless), violin, violoncello. Vita. Duration: 10 min., 20 sec.
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Jones, Lloyd Edward Walls Kimberly C. "Instrumental jazz ensemble programs in Alabama high schools." Auburn, Ala., 2009. http://hdl.handle.net/10415/2023.

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Moss, Bruce Burbank. "Differential approaches to rehearsing and conducting an instrumental ensemble." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225994055.

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