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Thematische Bibliographien / Vocal scores with drums / Dissertationen

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Dissertationen zum Thema „Vocal scores with drums“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2025

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1

Richard, Paul Christian Patrice. "Composition portfolio." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017548.

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2

Murray, Joan. "Impact of a Music Program on Students' Standardized Test Scores." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2938.

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Administrators at the focus school had not determined if participation in a music program has influenced students' academic achievement, thereby ushering doubt about the utility of this program. The purpose of this causal-comparative study was to determine the impact of the music program on students' English language arts (ELA) and math Measure of Academic Progress (MAP) scores. The theoretical foundation for this study was Miendlarzweska and Trost's model of musical training, which indicates the impact of musical training on academic, social, and cognitive outcomes and identifies factors that

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3

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 eac

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4

Young, Kar-fai Samson, and 楊嘉輝. "Internationalism, individualism and Chinese national style: the hybrid-identity composer and the in-between space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37095110.

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5

Brown, Jason Edward. "Santa Claus: : an opera in one act." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221296.

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The musical structure of Santa Claus is similar to Alban Berg's statements about his opera Wozzeck, that the audience does not need to be aware of the underlying processes that are in motion.Seen from the highest level of stratification, Santa Claus the opera is essentially a single sonata-allegro movement. The first scene is the exposition, scenes two through four are the development, and the fifth scene the recapitulation. Also at this level can be seen the overall arch shape of the formal structure. This arch reflects not only the melodic material, but tempo, texture, and structural design.

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6

Gan, On C. (On Cally). "House in Heaven." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500644/.

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House in Heaven is a theatrical piece for five solo voices (one soprano, two mezzo sopranos, one baritone, and one bass), two trumpets, four French horns, one trombone, two flutes, two clarinets, two bassoons, string orchestra, vibraphone, timpani and a synthesizer which produces pipe organ sound. The composition consists of an introduction followed by a single act in three Scenes. The piece employs the cyclical device in engaging themes associated with particular characters. The texture grows from simple alternating dialogues to arias and, finally, to tutti passages in which all voices are co

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7

Carter, Duane Martin. "Writing for musical theatre: Forever yours." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1590.

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8

Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.

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9

Tarleton, Angela Brannon. "Raven's Song: an Original Musical." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500310/.

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Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one ti

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10

Svensson, Frida. "Personlighet + Utseende = Instrumentval? : Finns det en föreställning om hur en person som spelar ett visst instrument ser ut och vilken personlighet denna person har?" Thesis, Karlstad University, Division for Ingesund College of Music, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4844.

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<p>I mitt examensarbete har jag valt att undersöka de tankar som finns kring vem som spelar vilket instrument. Vilka ord, som har med utseende respektive personlighet att göra, förknippar studerande vid en svensk musikhögskola samt en svensk folkhögskola med de utvalda instrumentalisterna; -klassisk tubaist, fiolspelande folkmusiker, klassisk tvärflöjtist, afrosångaren, afrotrummisen, klassisk pianist? Vilket kön, vilket utseende och vilken personlighet tänker de sig att respektive instrumentalist har? Genom en enkätundersökning har jag försökt ta reda på detta. Jag delade ut enkäter till stud

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11

Normand, Daniel. "Grâce à trois, Revue de presse : 9 septembre 1996 ; Transformations vernales : oeuvres musicales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33726.pdf.

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12

Gray, Anne-Marie. "Vocal music of the Anglo-Boer War (1899-1902) insights into processes of affect and meaning in music /." Thesis, Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-10062004-131944/.

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13

Spaniola, Joseph T. "Thomas Jefferson: Life lines." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2599/.

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Thomas Jefferson: Life Lines is a five movement composition based on excerpts from Thomas Jefferson's personal letters. The material presented focuses on the intimate, human qualities of the man. The musical treatment of this material illuminates and amplifies different aspects of the inner Jefferson. The music is as diverse and varied as Jefferson's interests. The style, tone and form of the music are directly tied to Jefferson's words. Two fundamental components of Jefferson's being, the rational mind and the emotional heart, are musically portrayed in the introduction of the first movement.

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14

Sullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.

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Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by cre

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15

Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.

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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of

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16

Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.

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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to crea

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17

Harlow, Sage. "Giving voice to the extra-normal self with the extra-normal voice: Improvised exploration through the realms of shamanic chaos magick, insight meditation and gender performance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2210.

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This thesis documents practice-led research exploring the intersections of, and tensions between, improvised invocation ritual within a chaos magick paradigm and Buddhist insight meditation. I explore the extra-normal self—those aspects of consciousness not usually present, or not usually accessible, in day-to-day life—by mean of improvised ritual work with the extra-normal voice and seek to maintain a Buddhist ‘witness’ consciousness throughout these explorations. I also explore the tensions between politics, aesthetics and spiritual practice; in particular, queer and trans politics, a timbre

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18

Chang, Yao-tzu, and 張窈慈. "A Study of T’ang Vocal Poems and Music Scores." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/06792075124143293783.

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博士<br>國立中山大學<br>中國文學系研究所<br>99<br>The Tang Dynasty was a golden age in the history of Chinese poetry. In terms of format, ancient-style lujue, five-character, or seven-character poems all achieved a peak status. Tang poems could not only be recited, paired with music, and can be used with wind and string instruments. Thus, the rise of Tang Dynasty music reflected the glory of Tang poetry development. In this thesis, regarding sound poems and lyrical poems, the author primarily discusses the Dunhuang lyrics, Tang poetry, and Yuefu poetry that could be sung between Sui and Tang dynasti

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19

Wilson, Eric C. "Eighteen sonnets by Henry Wadsworth Longfellow for soprano, mezzo-soprano, tenor and baritone solo voices and orchestra." 2011. http://liblink.bsu.edu/uhtbin/catkey/1660967.

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This dissertation is a tonal modular work for soprano, mezzo-soprano, tenor, and baritone solo voices and large orchestra (3343, 4331, Timp.+4, Hp., Pno., Strings) with an accompanying narrative. The text is drawn from eighteen of Henry Wadsworth Longfellow’s sonnets. This work consists of four interlocking song cycles, one for each solo voice, and two added songs for the combination of two or more of the solo voices. There are shared tonal and thematic relationships across the work as a whole as well as within and among the individual song cycles. The unique modular nature of the work allows

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20

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 ma

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21

Grant, Quentin Stuart David. "Portfolio of original compositions." 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

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22

Weekes, Diana K. "Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis." 2007. http://hdl.handle.net/2440/57119.

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Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library.<br>This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis fo

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23

Cawrse, Anne Rebecca. "Portfolio of original compositions and exegesis: a personal exploration of modal processes." Thesis, 2008. http://hdl.handle.net/2440/49470.

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This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also c

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24

Cawrse, Anne Rebecca. "Portfolio of original compositions and exegesis: a personal exploration of modal processes." 2008. http://hdl.handle.net/2440/49470.

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This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also c

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25

"A comparison of Igor Stravinsby's word-setting of the scriptures in different languages from selected passages in Threni ; A sermon, a narrative, and a prayer ; and Abraham and Isaac." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887265.

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by Lai Boon Tsing Joseph.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.<br>Includes bibliographical references (leaves 212-214) and discography (leave 215).<br>Chapter Chapter 1 --- Introduction --- p.1<br>Chapter Chapter 2 --- The Development of I. Stravinsky's Word- setting Philosophy --- p.8<br>Chapter Chapter 3 --- The Word-setting of Threni: id est Lamentationes Jeremiae Prophetae (1957/58) --- p.29<br>Chapter Chapter 4 --- "The Word-setting of A Sermon, a Narrative and a Prayer (1960/1)" --- p.70<br>Chapter Chapter 5 --- The Word-setting of Abraham and Isaac (1962/3) --

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