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Dissertations / Theses on the topic 'Arranged Chamber orchestra music'

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Published: 4 June 2021

Last updated: 2 March 2023

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1

Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

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Ondo was written for my grandmother’s 88th birthday. The composition comprises six sections based on a popular folksong, called “Tanko-Bushi,” which can be heard in every Japanese town during the Bon festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. “Tanko-Bushi” became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on Ondo, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity—as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of Ondo on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.

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2

Moura, Eli-Eri Luiz de. "Nocturnales : for chamber orchestra." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23443.

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v.1. Musical composition -- v.2. Analysis.
In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decisions based on intuitive considerations. The basis of the pitch system is a 1-2-1 tetrachordal set, to which are applied both principles of permutation and a modal treatment. In the rhythm domain, besides the conventional metric divisions of 2 and 3, predetermined numerical rows derived from the Fibonacci series to provide the durational values between event attacks are employed.

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3

McManaman, Steve. "High wire : for chamber orchestra." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59600.

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The way I approached this analysis was to start with two general statements, one on the form and the other on the harmony. This was so the reader could get a sense of the direction of the piece. Then I did a fairly detailed analysis of the introduction since most of the ideas originate from there. The rest of the piece is discussed in less detail, but occasionally there were places that needed a little more detailed explanation. In the postscript I describe some of my influences.

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4

Weikel, Anthony L. III. "Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.

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5

Yamanaka, Keiko 1970. "X : for chamber orchestra (1998)." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21497.

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X is a composition for a chamber orchestra with a duration of approximately 13'30″. The title X (read as "cross") refers to a cross-weave pattern created by superimposing the trills and written-out tremolos in the piece. While the trills and tremolos are used throughout the piece to create a sense of textural variety, they have an important function in controlling the formal structure of the piece. The texture, which is one of the important features of the composition, makes the overall form apparent.

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6

Wozniak, Trevor Mathew. "Four Fluctuations for Chamber Ensemble or Chamber Orchestra." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291050505.

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7

Poteat, Angelique M. "Spring Grove for chamber orchestra." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322411.

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8

Amstutz, Scott Anthony. "Mountain Views for Chamber Orchestra." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333460.

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Mountain Views for Chamber Orchestra is a three-movement piece that evokes various geographic and aesthetic attributes of the Catalina Mountains in Tucson Arizona. It makes use of musical elements such as time, theme, color/timbre, and texture from the chamber ensemble that are conducive to the evocation of contours, colors, and polyphonies necessary for the images found in the work. "Early Morning Clouds Descending on the Catalinas," the first movement of Mountain Views depicts the picturesque Catalinas as they are often seen in the mild winter mornings of Tucson. The slow introduction conveys the early dawn and the episodic middle section uses ostinato-like repetitions and sudden juxtapositions of block-like figures that depict a hidden and secretive landscape. "Cancion del saguaro," the second movement is much slower than the previous movement and features a more aria-like treatment yet, still with some repetitious accompanimental figures. This movement depicts a lonely cactus within the mountain landscape with chromatic glissandos that imply scale and incline. "Danzas de sombra," the last movement depicts the mountain face at dusk using white-note collections and contrasting black-note collections that depict bright and shadowy sections of the mountain. This movement is more segmented or episodic with the different sections distinguishable not only by their key areas and modes but also registrally and metrically with a greater use of mixed meter and dance-like rhythms in the black-note shadowy sections.

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9

Omelchenko, Stas. "Concerto for Organ and Chamber Orchestra." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5032.

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This composition proposes and implements a way in which to incorporate the pipe organ into a contemporary instrumental setting. Considering the instrument's wide use in concert halls and its popularity with contemporary music, much of the timbre-based music has evaded incorporating it into its settings; for one reason or another, there are currently no timbre-based works composed for organ and chamber orchestra. By using the process of spectral analysis, this timbre-based composition demonstrates one possible way of doing so by investigating timbre similarities and differences between selected ranks of the organ and selected orchestral instruments and mapping them into pitch structures.

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10

Poston, Paul W. "Chamber Symphony." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731175.

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11

Feezel, Mark Brandon. "The light for two narrators and chamber orchestra /." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/feezel%5Fmark%5Fbrandon/index.htm.

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12

Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.

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13

Morgan, Christopher R. (Christopher Robert). "Ka: a Composition for Chamber Orchestra in One Movement." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500603/.

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Ka is a one movement composition for chamber orchestra consisting of three sections. The work's harmonic, melodic and rhythmic materials are derived from the Chinese I Ching ("Book of Changes"). The middle section was composed with the aid of a computer program written by the composer. The program generated the interval sequence arrays forming the harmonic basis for the piece. Ka is scored for flute, oboe, B𝄬 clarinet, bassoon, French Horn, trumpet, trombone, three percussionists, violin, viola, cello and double bass. The score is 62 pages with a 39 page analysis preceding the score. Ka has a duration of approximately 10 minutes with no pauses between sections.

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14

Sanders, Gregory L. (Gregory Lynn). "Night of Glass." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331939/.

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Night of Glass is for chamber orchestra with an estimated performance time of 14 minutes. The instrumentation for the work, using one player per part, is Flute (also small glass wind chimes), Oboe (also 1 tuned water crystal), Clarinet in A (also small glass wind chimes), Bassoon (also 1 tuned water crystal), Horn in F (also 1 tuned water crystal), Trumpet in C (also 2 tuned water crystals), Percussion (Vibraphone, Glockenspiel, Chimes, Bell Tree, Hammered Dulcimer, 3 Suspended Cymbals, 1 Large Tam-tam, 4 Roto Toms, 3 Tympani), Piano, 1st Violin, 2nd Violin, Viola, Cello, and Double Bass, While not programmatic, the work is divided into six sections each expressing a predetermined emotional content: fragility, anxiety, solitude, fear, catharsis, and reconciliation. All are emotional contents which are found in the dream-state that is reflected in the work's title. All aspects of Night of Glass (i.e., pitch material, form structure, and structural density) are centered around the unifying factor of emotional projection within each section. The work seeks emotional content through the expansion of composition procedures while being accessible to listeners.

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15

Rose, François. "L'écho des temps /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820989.

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16

Arnold, Daniel. "April: A Song Cycle for Low Voice and Chamber Orchestra." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/11.

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An original composition in five movements for voice and a chamber orchestra of eleven instruments. The first movement is an overture; the second and fifth movements have text by Sara Teasdale; the third and fourth movements have text by Edna St. Vincent Millay.

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17

Golombisky, Matthew. "Determining What's Next: A Slow Movement for Chamber Orchestra." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/362.

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This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strings. Then, primarily stated in the middle register, we hear it in a wind trio consisting of clarinet, bassoon and horn. The next section is a low rumbling effect where the low strings and bass clarinet make the statement. Lastly, before a quasi-development section, the statement is heard in highest register with the flute, oboe, clarinet, and violins. This last statement peaks and the piece begins to slightly accelerate and make use of eighth notes in a polyphonic exploration in E minor. After this is established the tonality becomes blurred and cadences are delayed. The first violin and flute seem to be behind a couple measures even though they are considered of the fastest instruments in the orchestra. Eventually the orchestra collides and unites again to build strength, but it is of no use because they seem to have hard trouble finding the original tonality. When they final reach the E minor tonality again, they are exhausted and gradually fade away to the final cadence where we hear the two thematic chords simultaneously: strings – E minor, high winds – F major.

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18

Massoud, Raymond. "In defense of grey areas (2012) for violin and chamber orchestra." Thesis, Boston University, 2012. https://hdl.handle.net/2144/21214.

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Thesis (M.M.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
The following piece is comprised of one long movement lasting approximately fifteen minutes and is scored for a violin soloist and a chamber orchestra. Initially conceived as a concerto, the work explores the interactivity between the soloist and the ensemble as well as general concepts such as alignment, transition, contrast and harmonic tension. The title refers to a personal struggle to both do away with greyness in harmony and musical surfaces, as well as to integrate grey areas as alternative solutions to a more dichotomous view of both music and human life.
2031-01-01

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19

Wohl, David B. "Analysis of The soft moon." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq44331.pdf.

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20

Kambeitz, Nikolas. "The days of victory /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29567.

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The Days of Victory is a piece of music for a chamber orchestra of sixteen players, approximately thirteen minutes in duration. The accompanying analytical essay provides an extensive general description of its systems of pitch organization, and a more specific account of their operation in this piece. These systems function by linking dyads together to create a harmonic language that favours asymmetrical chord formations. Also included is an outline of its form, which uses four contrasting types of sections in recurrence. The essay comments on the stylistic tendencies of the piece in terms of rhythm, texture, and orchestration. This is followed by a brief exploration of the aesthetic implications of the music in relation to its title, which is drawn from a short excerpt of the Koran.

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21

Ring, Gordon L. (Gordon Lee). "Symphony No. 1 "Concertante"." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331555/.

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Symphony No. 1 "Concertante" is a work of approximately twenty-two minutes duration for chamber orchestra. The work is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bassoon, trumpet, F horn, trombone, tuba, percussion, harp, piano (doubling celesta), solo violin, solo viola, solo cello, solo double bass, and strings.The percussion battery, which is to be played by one performer, includes three timpani, vibraphone, orchestra bells, xylophone, chimes, suspended cymbal, bass drum, snare drum, and two triangles. One group of instruments, including the eight winds, percussion, and the four solo strings, is treated primarily in a soloistic manner although it also functions as a part of the ensemble. The remaining group, piano, harp, and strings, functions primarily as an accompanying group although it does get some soloistic treatment. The work is in four movements, each of which uses the traditional symphonic form. Movement I is in sonata-allegro form, movement II a simple ternary "song" form, movement III a scherzo and trio, and the final movement is a theme and variations. These traditional forms apply only to thematic use and development, however, for the tonal scheme is developed in a broader design which unfolds throughout the course of the four movements. All important melodic ideas are based on the same pitch set that serves as the basis for the tonal scheme.

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22

McBride, Michael A. (Michael Anthony). "Sinfonia." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501150/.

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Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.

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23

MacCallum, John. "Tiempos del caos." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79279.

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Tiempos del caos is a composition in five sections for chamber orchestra (28 players) and real-time computer-generated sounds, with a duration of approximately 15 minutes. A performer is required to control the computer-generated sounds which are produced using the software jMax. The inspiration for the form of the piece comes from my reading of the novel One Hundred Years of Solitude by Gabriel Garcia Marquez. The harmonic material is derived mainly from analyses of the acoustical properties of recorded instrumental sounds.

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24

Clay, William Rudy Paul. "Incarnation for soprano duo and chamber ensemble /." Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
"A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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25

Reuter, Rocky J. "Part I: Evocation as a compositional device : Part II: Concerto for chamber orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300460522.

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26

Muncy, Thomas R. "Gestures and Fields." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332633/.

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Gestures and Fields is a twenty minute work for chamber orchestra and dancers. It is scored for flute (doubling piccolo), oboe (doubling English horn), Bb clarinet (doubling Eb clarinet), bassoon Bb trumpet, French horn, trombone, tuba, percussion, piano, and strings. The percussion consists of a suspended cymbal, large tam-tam, 5 temple blocks, xylophone, marimba, tumba, snare, tenor drum, 4 tom-toms, bass drum and timpani. The work is in 5 movements, each inspired by an abstract expressionist painting: Autumn Rhythm by Jackson Pollock, Light, Earth and Blue by Mark Rothko, Mahoning by Franz Kline, Vir Heroicus Sublimus by Barnett Newman, and Excavation by Willem de Kooning.

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27

Emmerik, Matthew van. "Revelation: the emergence of the euphonium from the traditional brass and wind band culture and its modern day acceptance in solo, chamber and orchestral genres." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/14109.

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The thesis presents new research concerning aspects of the euphonium and its repertoire, including both new and historical compositions that have never before been documented or recorded. The thesis discusses the historical context of the euphonium, and demonstrates new ways of using the euphonium and combinations of instruments that work with it. Each chapter of this thesis aims to expand on basic information regarding to the euphonium. Chapter one is a literature review covering various books relating directly to the euphonium and the tuba. Chapter two covers the historical origins of the euphonium and where the instrument was mainly used in its early years. Chapters three and four cover the euphoniums traditions, current social status and the relationship between the euphonium, cello and the orchestra. Chapter five covers the euphoniums repertoire in the wind band genre and chapter six looks at the euphonium in the orchestral context. Finally chapter seven covers the euphonium and its solo repertoire over the past 150 years and the thesis closes with the final conclusion in chapter 8. Performance of the works discussed has formed an integral part of the research process, and has both informed, and been informed by the historical and analytical material presented here. In support of the thesis, two CDs are provided which have been recorded specifically to give the reader an audible example of the changes in repertoire and the development in compositional styles for the euphonium. The first CD - ’Neath Austral Skies - showcases the Australian repertoire for the euphonium accompanied by brass band. The music on this CD has never before been recorded, and the enclosed programme notes and information on the music document influences on the composers. The second CD - Utaki, The Sacred Grove - demonstrates a variety of alternative uses for the euphonium outside the band context. This CD does not focus on orchestral repertoire, but demonstrates the instrument in alternative roles, including in chamber music and as concerto soloist in music of varying styles, including several newly commissioned works, thus revealing a new direction and repertoire for the euphonium. This second CD projects the euphonium into a new and completely different sound world, effectively demonstrating some of the more romantic qualities of the euphonium, while capturing the versatility of its voice by utilising accompaniments such as a string quartet, string duo, piano and chamber brass - all of which complement the distinctive tessitura and vocal qualities of the euphonium. For more information about Matthew please visit his personal website: www.matthewvanemmerik.com

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Kim, Minpyo. "The revival of a waning moon." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/999.

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My dissertation is a musical composition for a chamber ensemble of sixteen players, scored for flute and piccolo, oboe, clarinet in Bb, bassoon, horn in F, trumpet in Bb, trombone, percussion (2 players), piano, violin I, violin II, viola, violoncello, and double bass. It is specifically written for the University of Iowa Center for New Music Ensemble, and has been read by the ensemble twice to secure ideas for orchestration. The Revival of a Waning Moon is a single-movement work for approximately 15 minutes. The harmonic content of the work are derived from five hexachords that I labeled H-I through H-V: H-I [013478], H-II [012578], H-III [012468], H-IV [012567], and H-V [012479]. Even though all of the six chords are associated with each other to establish overall harmonic control, only H-II is cultivated for its thematic harmony. The subsets from the H-II, such as the trichord [015] and tetrachord [0157], produce melodic ideas and associates with other harmonies throughout the piece. Metric modulation is utilized between the sections where the rhythmic elements are emphasized. Jajinmori, a Korean traditional rhythmic pattern is employed to describe a Korean folk dance, which is typically performed in the moonlight. Brake drums and gongs are especially used for imitating the sonorities of Korean percussion instruments. Formally the work is comprised of three parts (ABA'). Each part has a few divisional sections, which are connected and incorporates each other in terms of their harmonic elements, but is developed with various rhythmic gestures in different tempi. My personal reception of visual images of the waning phase of the moon, more specifically between the waning crescent and new moon, is mainly a sense of loss, sorrow, loneliness, and anger. Do-Hyang Na (1902-1926), tragically and untimely died at a young age, also describes the waning crescent as an expelled princess and a regrettable widow despite of its beauty in his essay Geu-Meum-Dahl. The visual and poetic imageries provide the emotional background of the piece.

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Webb, Lisa A. (Lisa Ann). "Forever's Silent Song for Chamber Orchestra and Mezzo-Soprano." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500386/.

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This work is a setting of two poems by E.E. Cummings for chamber orchestra and mezzo-soprano soloist. The approximate durations of the first and second movements are respectively seven and one half, and six minutes. The music was inspired by the poetry and attempts to highlight the cyclic syntax which hallmarks Cummings' style. The first poem ("pity this busy monster, manunkind,") presents a sarcastic analysis of the progress of society. The compositional techniques used in the first movement involve elements of ostinato and fragmented motivic development to punctuate the penetrating message of the poem. The second movement ("these children singing in stone a") offers a marked contrast in texture and is a peaceful resolution to the agitated frustration of the first poem. Chromaticism is an essential element in defining the melodic and harmonic style. The vocal writing is largely declamatory and presents the vocalist with challenges of tessitura, intervallic complexity and extended technique.

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Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.

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Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.

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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

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32

Osborn, Nicholas Edward Martens. "Gray Sealed Chamber." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1585847974969558.

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33

Sabey, Benjamin James Sabey Benjamin James. "Phenomena and, Phoenix /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355794.

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Thesis (Ph. D.)--University of California, San Diego, 2009.
First work for large ensemble; 2nd for violin and electronics. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Accompanied by disc containing PDF file of thesis and recordings of performances of works.

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34

Lynch, Graham Michael. "Ph.D. in composition, consisting of 7 works and a commentary on them." Thesis, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314167.

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Hage, Robert. "Layers." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1271373772.

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36

Jolley, Jennifer L. "All Grief Empty, The Clear Night Passes." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242510142.

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Smith, Thomas Rodgers. "The use of the trumpet in selected chamber works of Eric Ewazen." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008251.

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Feezell, Mark Brandon. "The Light, for Two Narrators and Chamber Ensemble." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4220/.

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The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.

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Boutwell, Brett N. ""Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2260/.

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John Cages Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composers oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cages "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cages compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composers manuscript materials for the work.

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Thomas, Zachariah. "Seeing a Tree for the Forest." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554911121221355.

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Kosmyna, David. "Dippermouth for the Centennial of the birth of Louis Armstrong /." Ohio : Ohio University, 2001. http://www.ohiolink.edu/etd/view.cgi?ohiou997193176.

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Cimino, Alice Ann. "Box of shadows : a composition for chamber orchestra and computer-generated sounds created through a process of timbral interpolation /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487844485895811.

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Brettell, Grip Anna-Karin. "Funding and accountability : studies of a Swedish and a British chamber orchestra." Doctoral thesis, Handelshögskolan i Stockholm, Redovisning och Finansiering (B), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hhs:diva-428.

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The need to deal with accountability is fundamental in every organisation’s struggle to survive. When external demands must be fulfilled in order to receive necessary funding, the organization continuously has to adapt internal processes and outputs to meet those demands. This thesis seeks to explore such adaptations and their short and long term effects. Funding and Accountability: Studies of a Swedish and a British Chamber Orchestra examines two organizations with an unusually complex context of stakeholders with diverse and conflicting interests. Adding to the unusualness of an orchestra is the nature of the orchestra’s basic output: autonomous music cannot be measured in quantified terms, rendering accountability a more difficult and elusive idea than ever. In addition, the orchestra is characterized by the performance of highly specialised skills executed collectively and with exceptional simultaneity, requiring particularly stable and predictable working frames. With two intriguing cases and with an innovative combination of theoretical perspectives, this thesis illustrates how external accountabilities influence an organisation’s core through internal adaptations over time, and highlights issues of organisational identity and future possible directions.
Diss. Stockholm : Handelshögskolan, 2009

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Cotallo, Solares Carlos. "Generations 3.1." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6719.

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Generations 3.1 is a musical composition for improvisers, chamber orchestra, two-channel audio playback, and video. It is part of the generations series, a collection of works in which newer pieces are made by combining and/or reinterpreting older ones. generations 3.1 uses material from generations 0 (stereo audio), generations 1.1 (audiovisual fixed media), generations 1.2 (chamber orchestra and audio playback), and generations 2.1 (video and improvisers). Formally, generations 3.1 expands the duration of its predecessors by deconstructing their shared timeline, reordering and elongating sections, as well as introducing new interludes. The experimental video of generations 3.1 was created by Timothy David Orme, while the text instructions for the improvisers were greatly influenced by my work with Wombat, an improvisation trio consisting of Justin K. Comer on saxophone, Will Yager on double bass, and myself on electric guitar and electronics. The four layers of the piece (improvisers, chamber orchestra, audio playback, and video) have distinct roles. The audio and the orchestra almost always sound together and complement each other, and they either support or create sections to contrast the improvisers. The improvisers act as soloists, playing alone or over the other musical layers, and respond to the video, observing its mood, energy, and timing. The video works as the main thread through the piece, providing a path interrupted by interludes. Its visual content is set to music by the other three layers. However, all these roles are somewhat flexible during the piece. My main goal with the generations series was to explore the process of writing works derived from older ones, reusing my own music to produce new compositions. Moreover, by collaborating with other artists, the same material can be reinterpreted through different disciplines and perspectives. The name “generations” connects the creative process that happens throughout the series to the idea of humans passing on both genetic and cultural material to their descendants. In generations 3.1, the name specifically references the different ways in which music was generated for the piece: editing electronic sounds, by means of traditional notation, and through improvisation.

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Costa, Anthony J. "A bibliography of chamber music and double concerti literature for oboe and clarinet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117551575.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center

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Lawrence, Nicholas A. (Nicholas Alan). "The Full Armor of God." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278177/.

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The Full Armor of God is a musical composition based on the apostle Paul's comparison in Ephesians 6:10-20 between armor for physical combat and armor for spiritual warfare. The instrumentation consists of the following: oboe/English horn, bassoon, two violins, viola, cello, and bass. Texts on Roman armor as well as commentaries and sermons on the scriptures were consulted for the basis of the musical materials. The piece combines imagery and historical associations with abstract renderings of both the physical and the spiritual.

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Norris, Marcus Duane JR. "Brown Eyes, Black Magic." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3270.

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This thesis consists of a large composition for chamber orchestra titled Brown Eyes, Black Magic and an accompanying analytical paper. The piece, approximately twelve minutes long, is a tribute to women of color in America. The title pays homage to the “Black Girl Magic” campaign that CaShawn Thompson founded in 2013 to empower women of color by highlighting their achievements in different fields (Wilson 2016). Although the piece is not programmatic, I tried to create a mysterious sound world, in which the listener focuses on the beauty of ever-shifting sonic colors. The composition explores musical texture and timbre, and is influenced by the works of Orlando Jacinto Garcia, Georg Friederich Haas, Krzysztof Penderecki, Arnold Schoenberg, and Anton Webern.

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Smith, Andrew Martin. "Remnants." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237661688.

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Thesis (M.M.)--Bowling Green State University, 2009.
Document formatted into pages; contains 1 score (vi, 29 p.) For clarinet, bassoon, and chamber orchestra (two trumpets, two horns, tenor trombone, bass trombone, percussion, piano, harp, and strings (six first violins, six second violins, four violas, four cellos, and two basses) Includes bibliographical references.

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Carson, Michael 1959. "Watership Down." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc935663/.

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Watership Down is a work for chamber orchestra in four movements, approximately sixteen minutes in duration. The piece is a programmatic work based on the novel Watership Down by Richard Adams; however, the musical action is not intended to be an aural narrative of the story but, rather, is meant to capture the general mood of the four sections of the novel. The work exhibits the influence of several styles of late nineteenth-century and early twentieth-century music with the symphonic poem being the genre it most closely resembles.

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Yang, Shang Ju. "Sonic Imagery in the Viola Arrangement of Hwang-Long Pan's Concerto for Violoncello and Chamber Orchestra (1996/97)." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/294020.

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The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (1996/1997), making use of the composer's sketches, interviews and other scholarship, to illustrate how the composer blends Western instrumentation and formal structure with elements of traditional Chinese music and philosophy. The analysis reveals how Pan uses modern European compositional techniques such as symmetrical pitch structure, arch forms, and avant-garde performance practices in the Concerto. The author also discusses performance techniques required of the solo violist and other orchestral instruments in order perform the style of Chinese heterophonic music evoked in the Concerto and to realize the ornaments and special performance effects that Pan borrows from traditional Chinese instruments, such as the lute-like pipa.

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