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Dissertations / Theses on the topic 'Bassoons (2) with orchestra'

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Published: 4 June 2021

Last updated: 1 February 2022

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Yun, Seunghyun. "Wings-2 for orchestra." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/178.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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LaFollett, Alexander. "The Elements: Period 2, for Large Orchestra." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13251.

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The Elements: Period 2, for Large Orchestra is a 44-minute-long cycle of eight orchestral "tone images", each one based upon an individual element from the second period of the Periodic Table of Elements: Lithium, Beryllium, Boron, Carbon, Nitrogen, Oxygen, Fluorine, and Neon. These tone images are inspired by the physical and chemical properties, uses, etymologies, interactions with biologic systems, and cultural associations of each element. They are intended for performance either individually or together as a set, possibly in combination with the Hydrogen and Helium pieces composed for my master's thesis (Central Washington University, 2006). Rather than taking a serialized approach, where various musical parameters are predetermined by raw data about each element, I sought to use the elements' properties and associations mostly as creative inspiration, more in line with traditional notions of programmatic orchestral music, such as tone poems and programmatic symphonies. Paralleling the fact that my dissertation is inspired by the building blocks of all chemical matter, I have used my personal musical building blocks--my system of over 400 heptatonic modes--in composing these pieces.

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Lee, Mei-ling. "Symphony for orchestra /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343171&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Spasov, Miroslav. "Metaanthropos/Evolutio 2 for chamber orchestra and electronics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ47985.pdf.

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

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc contains sound files of recordings of the musical compositions. The 1st work for 13 instruments; 2nd for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns; 3rd for voice, 6 stethoscopes, and computer which manipulates sounds picked up by the stethoscopes. Title from first page of PDF file (viewed July 11, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 137.

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Kwak, Anna. "A performer's analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966575.

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Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.

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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to evaluate his essential self-characterization shift in his compositional style, the so-called "five lines."

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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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Dondero, Paul Stephen Sheba Mechthild Hildegard. "Rebeka and the matriarchs /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=765991401&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (D. M. A.)--University of Oregon, 2003.
Sacred oratorio for female narrator, 4 solo female voices, SA chorus, and chamber orchestra. Libretto compiled from biblical sources and the writings of Makeda, Queen of Sheba, Mechthild of Magdeburg, and Hildegard of Bingen. Includes libretto, p. 309-313. Includes vita and abstract. Also available for download via the World Wide Web; free to University of Oregon users.

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Kim, Youngkyong Kim Youngkyong. "Volume I. Reconciliation a study of words and music in Schoenberg's Pierrot lunaire, Stravinsky's Symphony of psalms and Requiem canticles, and Britten's War requiem ; Volume II. Eo-meo-ni = (Mother) (o̳-mo̳-ni) : for medium voice and string orchestra /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512491&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Ng, Lok. "Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/ng_lok/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 21, 2003, Oct. 11, 2004, Oct. 24, 2005, and July 12, 2006. Includes bibliographical references (p. 33-35).

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Jacoby, Derek. "The Music of Lee Hyla| An Analysis of the First Movement of Concerto for Piano and Chamber Orchestra no. 2 and a Survey of Stylistic Elements in His Music, and an original composition, "Palindromic One| Number 31", for seven players." Thesis, Brandeis University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3562303.

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The first part of this dissertation is a detailed analysis of the first movement of Lee Hyla’s Concerto for Piano and Chamber Orchestra no. 2 (1991). The second part documents stylistic elements over the course of his compositional output.

The Concerto will serve as the focal point of analysis for two reasons. First, Hyla uses a more surface-level and audible musical narrative, a type of narrative he began employing in his music between 1981 and 1983. The Concerto, coming eight to ten years later, is sufficiently removed from the initial works, allowing this technique time to further develop. By 1991, other important facets of his approach emerged, elements employed in many compositions that followed, including some of his most recent.

The second reason for the selection of the Concerto pertains to the exact type of narrative employed. In Hyla’s compositions, the musical narrative ranges from almost completely flowing, in which most sections seamlessly transition to the next, to almost completely juxtaposed, in which blocks of contrasting music are linked with little or no transition. In the middle, there is a large gray area representing a merger of the two, partially flowing and partially juxtaposed. This is where the Concerto is found.

The second part of this analysis will examine several stylistic elements of Hyla’s larger style. Through numerous examples, drawn from well over a dozen pieces composed from 1978 to present, further light will be shed on some of the consistent compositional techniques found in Hyla’s music.

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Vasconcelos, Rodrigo de Carvalho. "O segundo concerto para piano e orquestra de Béla Bartók : indagações formais /." São Paulo, 2020. http://hdl.handle.net/11449/192565.

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Orientador: Yara Borges Cáznok
Resumo: O objeto de pesquisa desta Tese é o 2 o . Concerto para Piano e Orquestra de Béla Bartók (1881-1945), composto em 1931. Após a contextualização da obra, apresentamos uma análise musical. Nossa perspectiva dialoga com duas principais correntes analíticas: a Teoria da Forma Sonata (Hepokoski e Darcy, Caplin e Schmalfeldt) e as Teorias Pós-tonais (Antokoletz e Straus). A análise concentrou-se no 1 o . Movimento que, segundo o compositor, possuiria a Forma Sonata. Partindo desta declaração, procuramos compreender como opera, formalmente, a dinâmica entre ideias temáticas, motivos, coleções referenciais, relações contrapontísticas e texturais, e direcionalidade. O modelo da Forma Sonata foi colocado em discussão, realçando seus limites, sua maleabilidade e seus pontos de tensão, à luz dos procedimentos formais encontrados neste 1 o . Movimento. Os resultados analíticos descritos textualmente apresentam-se sintetizados por meio de gráficos, considerados parte integrante do procedimento metodológico.
Abstract: Béla Bartók’s (1881-1945) Concerto No. 2 for Piano and Orchestra, composed in 1931, is the primary focus of this thesis. Following the contextualization of the work, we present a musical analysis. Our aim is to bring together two analytical currents: the Sonata Theory (Hepokoski and Darcy, Caplin and Schmalfeldt) and Post-tonal Theories (Antokoletz and Straus). The analysis focuses on the First Movement, which according to the composer, is in Sonata Form. Based on his statement, we intend to understand how thematic ideas, motifs, referential collections, counterpoints, directionality, and texture interact against a formal background. We discuss the Sonata Form, highlighting its limitations, malleability, and points of tension, in light of the formal procedures found in the First Movement. The descriptions of analytical results are supported by graphs, which are considered an integral part of the methodology.
Doutor

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"Concerto for marimba and orchestra no. 2." Thesis, 2009. http://hdl.handle.net/1911/61790.

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This concerto in three movements focuses on advanced marimba techniques. Scored for a chamber orchestra of flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani, solo marimba, and single strings. Inspired by the recent efforts of the Classical Marimba League, this concerto strives to provide a classically driven, tonal addition to the marimba repertoire. The piece explores tonal interplays between F minor, C sharp minor, A minor The first movement, in F minor, opens delicately and is constantly growing to its dramatic conclusion. The second movement answers the first in the opposing key of C sharp minor. This movement is built in an arch form and returns to F minor at its climax, from this moment the movement will unfold back into C sharp minor just as it arrived. The final movement is a scherzo in A minor This key choice demonstrates neutrality from the previous opposing keys.

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Richmond, Jeffrey W. "Human nature a complete life story for jazz orchestra and symphony orchestra /." 2009. http://proquest.umi.com/pqdweb?did=1703275151&sid=3&Fmt=2&clientId=14215&RQT=309&VName=PQD.

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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009.
Title from title screen (site viewed July 21, 2009). PDF text: 131 p. : music ; 6 Mb. UMI publication number: AAT 3352331. Also available in microfilm and microfiche formats.

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Tozer, Fiona. "Composition 2 [music manuscript] : portfolio." Thesis, 2004. http://hdl.handle.net/10413/9506.

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Ramirez, Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen. "Technology integration in music : Exploration, preparation, and realization /." 1998. http://www.quicktime.com.

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Huang, Jing-Wen, and 黃靖雯. "The Analysis and Interpretations of Carl Maria von Weber’s《Concerto No.2 in bE major, Op.74, for Clarinet and Orchestra》." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/09517128791401587895.

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碩士
國立臺北教育大學
音樂學系碩士班
101
This thesis mainly discussed the Clarinet Concerto《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》accomplished by Carl Maria von Weber(1786-1826), the pioneer of German Opera, in 1811. Clarinet is Weber’s favorite instrument because its tone can be changed dramatically. Hence, Weber can deftly apply the skills used in opera on clarinet works, so that the magnificent periods and strong rhythmic music style can be presented in this composition. The thesis is organized as following. Chapter 1 is an introduction, including the research motivation, scope, method, and literature reviews. Then I introduced Weber’s biography, his music style and influence in Chapter 2. Chapter 3 describes how Weber wrote《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》. In this chapter, we talked about the background of composition creation and the biography of Heinrich Joseph Baermann (1784-1847), a performer whose fantastic performance influenced Weber’s creation and inspired him to compose clarinet works The analysis of music form and the composition performance interpretation of《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》are further discussed in Chapter 4 and 5. The conclusion is placed in Chapter 6. By the comprehensive study of 《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》, I hope that I can understand more about how and why Weber wrote those great works. Furthermore, I expect myself to learn from this research and have an appropriate expression in performance.

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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160

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Berger, Steven. "Compositions [Instrumental music. Selections]." Thesis, 1992. http://hdl.handle.net/2429/2425.

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Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

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Bolden, Benjamin. "Opus 25." Thesis, 1997. http://hdl.handle.net/2429/5905.

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Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette.

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