Dissertations / Theses: '20th century chamber music'

1

CHANDLER, BETH E. "The “Arcadian” Flute: Late Style in Carl Nielsen’s Works for Flute." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085004413.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Engstrom, Larry M. (Larry Milton). "Contemporary Swedish Music for Solo Trumpet and Trumpet in Mixed Chamber Ensembles with a Performance Analysis of Selected Works of Bo Nilsson, Folke Rabe, and Tommy Zwedberg." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc277573/.

Full text

Abstract:

This study discusses how cultural and social aspects of contemporary Swedish society impact the musical arts. It contains biographical information on representative Swedish composers, and analyzes technical and structural elements of their compositional styles. Finally, it recommends performance practice considerations regarding technical and interpretive details in Tommy Zwedberg's Face the Music for trumpet and prepared audio tape, Folke Habe's Shazam for unaccompanied trumpet, and Bo Nilsson's Infrastruktur for brass quintet.

APA, Harvard, Vancouver, ISO, and other styles

3

Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Sorensen, Randall J. "Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.

Full text

Abstract:

This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire.
School of Music

APA, Harvard, Vancouver, ISO, and other styles

5

Caboverde, Enrique III. "A Graduate Guitar Recital Consisting of Works by Leo Brouwer and Mario Castelnuovo-Tedesco with Extended Program Notes." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/640.

Full text

Abstract:

This thesis presents extended program notes for a recorded graduate classical guitar recital consisting of the following works for solo guitar with string quartet and chamber orchestra: Mario Castelnuovo-Tedesco: Quintet for Guitar and Strings, Op. 143; Leo Brouwer: Concerto No. 3 (“Elegiaco”). Both works are pioneering and invaluable contributions to guitar literature. Tedesco’s Quintet for Guitar and Strings, Op. 143 is the first quintet ever composed to properly showcase the virtuosity of the guitar within a chamber setting. Concerto “Elegiaco” demonstrates the refinement of Leo Brouwer’s use of post-modern tonality and minimalism within classical form, and showcases his unique compositional style.

APA, Harvard, Vancouver, ISO, and other styles

6

Beltrami, Waleska Scarme. "Musica brasileira para trompa e piano : um repertorio desconhecido." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284643.

Full text

Abstract:

Orientador: Lenita Waldige Mendes Nogueira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T09:23:25Z (GMT). No. of bitstreams: 1 Beltrami_WaleskaScarme_M.pdf: 73658764 bytes, checksum: ae420283c9e500fd26690fc8d01b8a33 (MD5) Previous issue date: 2006
Resumo: Esta pesquisa identifica o surgimento e a formação do repertório de obras brasileiras compostas para a formação trompa e piano. Consciente da importância e necessidade de estudos direcionados ao repertório brasileiro de trompa, este trabalho visa a divulgação destas obras e dos respectivos compositores, contribuindo para a bibliografia sobre o assunto. A metodologia englobou o estudo dos compositores e obras, além dos aspectos relacionados à composição dessas obras como caráter, extensão, dinâmica, material e estrutura. Esta dissertação também apresenta a gravação em CD das nove obras estudadas interpretadas pela autora, a editoração das partituras manuscritas, o levantamento de dados. biográficos dos compositores, uma entrevista com os mesmos evidenciando sua visão pessoal sobre a obra, além de um catálogo completo das obras encontradas durante a pesquisa
Abstract: This research intends to identify the sprouting and the formation of the Brazilian repertoire for hom and piano. Aware of need and importance of studies addressed to the hom Brazilian repertoire, this work aims at to the spreading of these works and these composers as a contribution for its bibliography. The methodology unites the study of the hístory of composers and works, beyond the aspects related to the composition as character, extension, dynamics, material and structure. This essay also includes a compact disc with the nine pieces played by Waleska Beltrami, an edition of the handwritten scores, a study of the composers biographical data, an interview with the composers evidencing their consid~rations about their own compositions, beyond a complete catalogue with aH pieces found in this research
Mestrado
Mestre em Música

APA, Harvard, Vancouver, ISO, and other styles

7

Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.

Full text

Abstract:

La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violon
A great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin

APA, Harvard, Vancouver, ISO, and other styles

8

Sanchez, Richard Xavier. "Spanish chamber music in Eighteenth century /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121943x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Bagley, Paul Michael. "Mysticism in 20th and 21st century violin music." Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

Full text

Abstract:

“Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20^th and 21^st centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's Baal Shem suite and Poème mystique; Finko's Lamentations of Jeremiah, Zorn's Kol Nidre, Goetia, All Hallow's Eve, and Amour fou; Gubaidulina's In tempus praesens; and Messiaen's Quartet for the End of Time. These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.

APA, Harvard, Vancouver, ISO, and other styles

10

Tsurtsumia, Rusudan. "The Value Orientation of 20th-Century Georgian Music." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Sumner, Lott Marie. "Audience and style in nineteenth-century chamber music, c. 1830 to 1880 /." Digitized version, 2008. http://hdl.handle.net/1802/7668.

Full text

Abstract:

Thesis (Ph. D)--University of Rochester, 2008.
Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7668

APA, Harvard, Vancouver, ISO, and other styles

12

McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Hocking, Rachel School of Music &amp Music Education UNSW. "Crafting connections: original music for the dance in Australia, 1960-2000." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.

Full text

Abstract:

This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.

APA, Harvard, Vancouver, ISO, and other styles

14

Bernier, Kiyono Monique. "Disparate measures: Two 20th century treatments of the Paganini theme." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284086.

Full text

Abstract:

This study investigates the significance of the Paganini theme and variation sets composed by two living composers, Neils Viggo Bentzon and Robert Muczynski. The popularity of the theme and variation form gradually spread to the keyboard repertoire first as entertainment for both courtly and bourgeois audiences, and later as a means of technical display for performing piano virtuosi. Paganini's twenty-fourth Caprice from Op.1 for solo violin is the basis for sets of variations for solo piano by three major pianist-composers: Liszt, Brahms, and Busoni. Bentzon and Muczynski follow in this tradition, constructing their variations on the Paganini theme as a showcase of their individual compositional language and skill. The body of the document will be a discussion of their contrasting treatments of the immortal theme as demonstrated through their choices of melody, sonority, texture, rhythm, register, and form. Bentzon's and Muczynski's theme and variation sets constitute compositional achievements in piano literature that deserve a place alongside previous outstanding models that are an important part of the standard repertory.

APA, Harvard, Vancouver, ISO, and other styles

15

Kane, Mike. "A consideration of modes of dissonance in 20th-century music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59180.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Milin, Melita. "The National Idea in Serbian Music of the 20th Century." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21226.

Full text

Abstract:

If there was but one important issue to be highlighted concerning Serbian music of the 20th century, it would certainly be the question of musical nationalism. As in all other countries belonging to the so-called European periphery, composers in Serbia faced the problem of asserting both their belonging to the European musical community and specific differences. The former had to be displayed by their musical craftmanship and creative individuality, while the latter were conveyed through the introduction of native folk elements as tokens of a specific identity.

APA, Harvard, Vancouver, ISO, and other styles

17

Ouyang, Yiwen. "Westernisation, ideology and national identity in 20th-century Chinese music." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/8f19c444-ee12-c022-d86c-879118683355/7/.

Full text

Abstract:

The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China's early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on.

APA, Harvard, Vancouver, ISO, and other styles

18

Leung, Tai-wai David. "Memory, aesthetics and musical quotation four case studies in 20th century music /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/HKUTO/record/B39733919.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Gardiner, Kathleen M. "An annotated bibliography of twentieth-century solo and chamber literature for the E-Flat Clarinet." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180460268.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Assid, Tonya. "The early music ensemble in 21st century America." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20033/assid%5Ftonya/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Wacker, Therese M. "The Piccolo in the Chamber Music of the Twentieth Century: an Annotated Bibliography of Selected Works." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1214408124.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Ohki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

Full text

Abstract:

When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

APA, Harvard, Vancouver, ISO, and other styles

23

DELL, AMANDA PROCTOR. "THE CLARINET IN THE VOCAL CHAMBER MUSIC OF ANTON WEBERN." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1108347266.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Leung, Tai-wai David, and 梁大偉. "Memory, aesthetics and musical quotation: four case studies in 20th century music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39733919.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Rockwood, Mark. "Form, Style, and Influence in the Chamber Music of Antonin Dvořák." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22726.

Full text

Abstract:

The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvořák’s chamber music in the context of Sonata Theory, using the treatise as a jumping off point in order to analyze his music. This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert’s influence on Dvořák’s music was notable, so after comparing some of Dvořák’s writing about Schubert’s music, I examine specific musical elements (sonic, formal, and structural) from Schubert’s String Quintet in C Major, D. 956 that Dvořák emulates in his string quartet in the same key. Chapters 3 and 4 put Dvořák’s sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvořák’s use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer’s use of energy gain in the transition section of a sonata. Additionally, many of Dvořák’s sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvořák extends S-rhetoric in order to delay the close of the exposition. Even though not originally intended for this music, Hepokoski and Darcy’s treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvořák’s music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.

APA, Harvard, Vancouver, ISO, and other styles

26

Munk, James N. "Agency, physicality, space : analytical approaches to contemporary Nordic concertos." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:d4c79a2a-0836-4921-b33c-9a3fd2aa0f8a.

Full text

Abstract:

The concerto enjoys a position of centrality within the oeuvres of many contemporary Nordic composers: the genre often functions as a vehicle for the exploration of advanced compositional techniques and aesthetic preoccupations, and the resulting works are well-represented on recordings and in the concert hall. Yet this repertory has largely been neglected in scholarship. Through detailed analysis of works by Per Nørgård, Kaija Saariaho, Magnus Lindberg, and Pelle Gudmundsen-Holmgreen, this thesis develops analytical technologies for a genre which has received less musicological attention than it deserves. Placing a particular emphasis on the theatrical aspects of concerto performance, the project explores the application of three lines of enquiry, each of which has been theorised in some detail: agency (Cone, Maus, Cumming), physicality (Clarke, Cox, Larson), and space (Brower, Williams). Each of these lines of enquiry has been directed at the concerto sporadically, if at all – even though concertos make particularly compelling and potentially enriching case studies for the theoretical models in question. This thesis represents the first sustained attempt to explore the concerto with reference to these bodies of literature. The analytical models developed have wider applicability, to concertos both within and without the Nordic arena. I draw attention at numerous points to ways in which they can illuminate works by Ligeti, Birtwistle, Musgrave, Berio, and Lutosƚawski, among others. The project also has wider implications for our understandings of Nordic identity, virtuosity, and musical modernism at the turn of the twenty-first century.

APA, Harvard, Vancouver, ISO, and other styles

27

Kelly, Caleb, and n/a. "Cracked and Broken Media in 20th and 21st Century Music and Sound." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20070601.135617.

Full text

Abstract:

From the mid 20th century into the 21st, artists and musicians manipulated, cracked and broke audio media technologies to produce novel, unique and indeterminate sounds and performances. Artists such as John Cage, Nam June Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo Yoshihide pulled apart the technologies of music playback, both the playback devices � phonographs and CD players � and the recorded media � vinyl records and Compact Discs. Based in the sound expansion of the 20th century musical avant garde, this practice connects the interdisciplinary Fluxus movement with late 20th century sound art and experimental electronic music. Cracked and broken media techniques play a significant role in 20th century music and sound, and continue to be productive into the 21st. The primary contribution of this thesis is to provide a novel and detailed historical account of these practices. In addition it considers theoretical approaches to this work. After considering approaches through critiques of recording media, and concepts of noise, this thesis proposes novel theorisations focusing on materiality and the everyday. Ultimately it proposes that these practices can be read as precursors to contemporary new media, as music and sound art cracked open the fixed structures of �old media� technologies for their own creative purposes.

APA, Harvard, Vancouver, ISO, and other styles

28

Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Dino, Rose M. "Contemporary ties: wedding 20th-century musical theatre to opera using the same source material." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6724.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Daigle, Paulin. "Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.

Full text

Abstract:

This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.
The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier conterpoint, figured-bass and harmony treatises led Schenker and his disciples to place the technique in a much broader context, though even they do not always grasp the full implications of their procedures.
In the light of William Caplin's recent theory of formal functions, (Caplin 1985; 1998), the second part of the thesis in a substantial selection of musical excerpts from the eighteenth through the early twentieth centuries, demonstrates that 5 - 6 technique as a contrapuntal analatycal concept, provides an effective model for understanding the development of chromaticism and the extension of the tonal language at multiple structural levels.

APA, Harvard, Vancouver, ISO, and other styles

31

Trochimczyk, Maja. "Space and spatialization in contemporary music : history and analysis, ideas and implementations." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116333.

Full text

Abstract:

Note: Pages have been removed from this digital copy due to copyright restrictions. A print copy is available in the McGill Library.
This dissertation presents the history of space in the musical thought of the 2Othcentury (from Kurth to Clifton, from Varèse to Xenakis) and outlines the development of spatialization in the theory and practice of contenlporary music (after 1950). The text emphasizes perceptual and temporal aspects of musical spatiality, thus reflecting the close connection of space and time in human experience. A new definition of spatialization draws from Ingarden’s notion of the musical work; a new typology of spatial designs embraces music for different acoustic environments, movements of performers and audiences, various positions of musicians in space, etc. The study of spatialization includes a survey of the writings of many composers (e.g. Ives, Boulez, Stockhausen, Cage) and an examination of their compositions. The final part of the dissertation presents three approaches to spatialization: Brant’ s simultaneity of sound layers, Xenakis’s movement of sound, and Schafer’s music of ritual and soundscape.
Cette thèse présente l’histoire de l’espace dans la pensée musicale du vingtième siècle (de Kurth à Clifton, de Varèse à Xenakis) et retrace le développement de la spatialisation dans la théorie et la pratique de la musique contemporaine (après 1950). Le texte souligne les aspects perceptuels et temporels de la spatialisation musicale, reflétant ainsi le lien étroit entre temps et espace t!ans l’expérience humaine. Une nouvelle définition de la spatialisation tire son origine de la notion de l’oeuvre musicale d’Ingarden; une nouvelle typologie des plans spatiaux prend en considération des musiques pour différents environnements acoustiques, diverses positions des musiciens dans l’espace de même que le mouvement de ceux-ci et des auditeurs, etc. L’étude de la spatialisation inclut un survol des écrits de plusieurs compositeurs (Ives, Stockhausen, Boulez et Cage, par exemple) de même qu’un examen de leurs oeuvres. La dernière partie de la thèse présente trois approches compositionnelles de la spatialisation: la simultanéité de strates sonores ,:hez Brant, le mouvement du son chez Xenakis et la musique du rituel et l’écologie sonore chez Schafer.

APA, Harvard, Vancouver, ISO, and other styles

32

Leitão, Simone Azevedo. "Heitor Villa-Lobos's Mômoprecóce Fantasy for Piano and Orchestra (1919-1929): An Historical, Stylistic, and Interpretative Study." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/328.

Full text

Abstract:

The life and works of the Brazilian composer Heitor Villa-Lobos (1887-1959) have been well documented. However, a comprehensive study concerning any of his nine works for piano and orchestra has not been undertaken. Among this prolific output, the Mômoprecóce, fantasie pour piano et orchestra, stands as a faithful representation of the composer's skillful orchestration, descriptive piano writing through the observation of a childhood universe, and his multi-faceted approach to nationalism. The fantasy is a through-composed arrangement of a previous solo piano suite by Villa-Lobos entitled, Carnaval das crianças brasileiras (Brazilian Children's Carnival, 1919). This research aims to investigate the historic, stylistic, and interpretative aspects of Mômoprecóce, while discussing the composer's unique usage of the piano through his innovative compositional techniques and comparison of the fantasy with his original solo piano suite. Current literature in English, Portuguese and French is thoroughly examined, discussed, evaluated, and cited. In addition I provide a formal analysis, an interpretative guide, and a sociological perspective into Brazilian carnival, as specifically applied to the performance of Mômoprecóce.

APA, Harvard, Vancouver, ISO, and other styles

33

Hands, Rachel M. "The Nature and Value of Accessibility in Western Art-Music, 1950-1970." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236091441.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.

Full text

Abstract:

During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.

APA, Harvard, Vancouver, ISO, and other styles

35

Belling, Huw. "Dimensions of allusion : synthesis affecting craft in the works of Huw Belling and in 20th and 21st century composition." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:fa0579cf-6405-4ab0-a5bb-90c28a9d36a8.

Full text

Abstract:

This examination of my own works (presented largely in chronological order) and of related music by others, broadly concerns itself with appropriation and allusion on the part of twentieth and twenty-first century composers. It considers how the deliberate synthesis of existing works affects the responding composers' own output. To this end, whether surveying my own music or others', I do so within a four-pronged framework: 1. The philosophical premise and aesthetic of pieces which somehow appropriate existing composition (as claimed overtly by the composer, or inferred from available research). 2. The compositional procedure and techniques employed in the process of composing works which allude to or synthesise other pieces. 3. The product resulting from the interaction of the above two factors (naturally the latter is more concrete). 4. Critics' and scholars' responses: the basic phenomenology of the allusive element, synthesis, or stylistic appropriation, and the ethical problems surrounding any appropriation. My analyses address one or more of these connected points. They raise a number of significant questions. Is synthesis and re-composition (the latter taken to be more specifically referential) affective or effective? That is to say, is it aesthetically prescriptive? Can composers manage to quarantine 'Les objets trouvés' from their individual practice? Of interest are composers with individual credibility as innovators, whose craft is its own defence against criticism on dogmatic grounds. I consider what is to be gained, in terms of technique, and in terms of developing an aesthetic, from the process of specifically engaging with other pieces, and explore the effects of differing methods of synthesis as compared across compositional practices.

APA, Harvard, Vancouver, ISO, and other styles

36

Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Mui, Kwong-chiu, and 梅廣釗. "Crossing the musical divides: a collection ofmy musical creations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3157788X.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Skirpan, Richard. "The Choral Music of Joseph Willcox Jenkins." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/518.

Full text

Abstract:

Composer Joseph Willcox Jenkins (b. 1928), longtime professor at Duquesne University in Pittsburgh, Pennsylania (since 1961) and the first arranger for the United States Army Chorus (1956-1959), has composed and arranged a prolific amount of choral music, much of which has remained unpublished. After presenting a brief biography of Jenkins, this essay examines a sample of seven of his choral works, with analyses and scores of each. Catalogs of the choral compositions to which he assigned opus numbers and his U.S. Army Chorus arrangements follow, along with a classified list of remaining choral works and arrangements. The document concludes with the transcription of a conversation between Jenkins and the author about his career and music. It is hoped that this resource for choral musicians will encourage a more widespread knowledge of Jenkins’ choral music, providing increased possibilities for performance and further study.

APA, Harvard, Vancouver, ISO, and other styles

39

Kam, Chi-lim Daniel, and 甘志廉. "Contemporary Chinese music in Hong Kong: the Wuji Ensemble, a case study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45161859.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Chung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.

Full text

Abstract:

Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.

APA, Harvard, Vancouver, ISO, and other styles

41

Fang, Ming-Jian. "Notational systems and practices for the lute, vihuela and guitar from the Renaissance to the present day." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/558361.

Full text

Abstract:

Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with the mastery and understanding of notation. After an introduction, the second chapter discusses three main tablatures for the lute and vihuela. It is important to confine oneself to the tablatures, in order that they be throughly understood. Thusthe third chapter deals with ornamentations, the fourth chapter with four-course, five course, six-course and six-string guitar notations, and the fifth chapter encompasses progressive notationfor the modern guitar. Systems for folk and commercial music are not addressed in this paper.The author hopes that with the use of this dissertation, tablatures can be handled with less difficulty and put into proper perspective. Careful thought has been given in selecting representative examples and notational literature excerpts as illustrations for the reader and/or performer. These examples need not only be studied but can be used as preparation for any other related composition. The purpose of this study is to supply teachers, students, and guitarists with a ready-reference guide to the notational practices for the lute, vihuela and guitar, a subject previously shrouded in confusion.
School of Music

APA, Harvard, Vancouver, ISO, and other styles

42

Venter, Carina. "The influence of early Apartheid intellectualisation on twentieth-century Afrikaans music historiography." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2839.

Full text

Abstract:

Thesis (MMus (Music))--University of Stellenbosch, 2009.
ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly premised on the assumption of complicity as an interpretive frame in which the relationship between Apartheid intellectualisation and Afrikaans music historiography can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four chapters, I attempt to construct metaphors, points of intersection or articulation between Apartheid intellectualisation and Afrikaans music historiography. Music is never entirely absent: for Apartheid ideologues such as Geoffrey Cronjé and Gerrie Eloff musical metaphors become ways of enunciating racial theories, for the Dutch musicologist Jan Bouws music provides entry into South Africa and its discourses, for J.P. Malan music becomes a conduit that could facilitate national goals and for Rosa Nepgen music constitutes the perfect domain for and the gestating impulse of her own often ornate national devotions. Some of the themes addressed in this thesis include the language and metaphors of Apartheid intellectualisation, discourses of paranoia, struggle, purity, contamination, the ‘Afrikanermoeder’ (‘Afrikaner mother’), the cultural language of Afrikaner nationalism and the reciprocity between cultural fecundity and dominance of the land. The final denouement comprises a positing of the Afrikaans art song ‘O Boereplaas’ and the singing soprano Afrikanermoeder who emerges as the keeper of Afrikaner blood purity, guardian of her race and prophet of its fate and future.
AFRIKAANSE OPSOMMING: Hierdie tesis probeer om vrae uit ons verlede in die hede te verstaan. Die aanname van komplisiteit verskaf ’n premis en interpreterende raamwerk waarbinne die verhouding tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie belig kan word. Die protagoniste van hierdie tesis is Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen en Jacques Philip Malan. In elk van die vier hoofstukke poog ek om metafore, punte van kruising of artikulasie tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie te konstrueer. Musiek word nooit buite rekening gelaat nie: vir Apartheid-ideoloë soos Geoffrey Cronjé en Gerrie Eloff word musikale metafore maniere hoe teorieë oor ras geformuleer kan word, vir die Nederlandse musikoloog Jan Bouws verleen musiek toegang tot Suid-Afrikaanse kulturele diskoerse, vir J.P. Malan word musiek ’n kanaal waardeur nasionale doelstellings vloei en vir Rosa Nepgen verteenwoordig musiek die ideale omgewing en teelaarde vir haar eie en gereeld oordadige nasionale lofuitinge. Sommige van die temas wat in hierdie tesis aangespreek word sluit in die taal en metafore van Apartheid intellektualisering, diskoerse van paranoia, stryd, suiwerheid, kontaminasie, die Afrikanermoeder, die kulturele taal van Afrikanernasionalisme en die wederkerigheid tussen kulturele oplewing en oorheersing van Suid-Afrika. Die tesis word tot slot gevoer deur ’n besinning oor die Afrikaanse kunslied ‘O Boereplaas’ en die singende sopraan, die Afrikanermoeder, wat na vore tree as die bewaarder van Afrikaner-bloedsuiwerheid, oppasser van haar ras en die profetes van die volk se lot en toekoms.

APA, Harvard, Vancouver, ISO, and other styles

43

Harrison, Jane E. "Fashionable Innovation: Debussysme in Early Twentieth-Century France." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322638382.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Loungsangroong, Manchusa. "First-wave Women Clarinetists Retrospective: A Guide to Women Clarinetists Born Before 1930." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492472880913857.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form." University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.

Full text

Abstract:

This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.

APA, Harvard, Vancouver, ISO, and other styles

46

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.

Full text

Abstract:

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).

APA, Harvard, Vancouver, ISO, and other styles

47

Kolb, Richard Edward. "Style in Mid-Seventeenth Century Roman Vocal Chamber Music: The Works of Antonio Francesco Tenaglia (c. 1615-1672/3)." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1270141838.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Buffington, Adam. "In Relation to the Immense: Experimentalism and Transnationalism in 20th-Century Reykjavik." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587637102245713.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Averill, Ron Averill Ron Averill Ron. "The use of quotation in 20th-century works by Ron Averill, Charles Dodge, and Charles Ives /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11408.

Full text

Abstract:

Thesis (D. Mus. Arts)--University of Washington, 1995.
Score of Gdod kreasi baru : for trombone and computer-realized sound / by Ron Averill, in pocket. Compact disc contains: Painting legs on the snake / by Ron Averill. Vita. Includes bibliographical references (leaves [104]-108).

APA, Harvard, Vancouver, ISO, and other styles

50

GERBER, STUART W. "KARLHEINZ STOCKHAUSEN'S SOLO PERCUSSION MUSIC: A COMPREHENSIVE STUDY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1060182585.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic '20th century chamber music'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles