Dissertations / Theses on the topic 'Chamber music Composers Chamber music Kamermuziek'

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

The purpose of this essay is to introduce readers to the music of living American composer Gabriela Lena Frank (b. 1972) through her chamber vocal works and to provide a resource to aid in the interpretation and performance of her music. Frank is an internationally recognized composer with a thriving career. However, she is not widely known among singers and teachers of singing and scholarship on her music is quite limited. This study seeks to fill that void by examining Frank’s published works as of January 2016 for solo voice and up to six instruments. These works are Cuatro Canciones Andinas (1999), for mezzo-soprano and piano; New Andean Songs (2008), for soprano, mezzo-soprano, two percussionists, and two pianos; Seven Armenian Songs (2013), for soprano, percussionist, and solo violin; and Honey (2013), for soprano, mezzo-soprano, and piano. Frank’s chamber vocal pieces are excellent additions to the repertoire and notable for Frank’s chamber music aesthetic, choice of diverse texts and languages (English, Spanish, and Armenian), dramatic storytelling, range of musical colors, and idiomatic writing for the performers. Frank’s ongoing exploration of her Peruvian heritage is reflected in two of these works, which draw inspiration from Andean folk music and poetry. This essay provides a brief biography of Frank; original poetic and musical analyses of the four works, exploring the areas of poetry, form, melody and motive, text painting, rhythm, harmony, folk influences, vocal writing, instrumental writing, timbre, range, and tessitura; and a summary of stylistic traits as seen across this sample. Poetic and word for word translations of foreign language texts, pronunciation guidelines for Latin American Spanish and International Phonetic Alphabet transliterations for the Armenian poems are included.

This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.

Christoffer Pörn: Tre berättelser för piano

Johannes Brahms: Trio för piano, klarinett och cello op 114

Christoffer Pörn: Tre etyder för piano

Charles-Valentin Alkan: Symfoni för piano op 39 

Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello

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.

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

Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Also available in paper. Audio available on compact disc;

Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean historical, cultural and musical influences. I give a detailed historical and cultural background for this work and demonstrate how Kim integrated Western compositional techniques with traditional Korean music. My emphasis is on defining specific characteristics of traditional Korean music which will provide several points toward understanding Kim's compositional style.

Entr'actes and Sappho Fragments (1964) by English Composer Harrison Birtwistle represent extended notation, complex meters, and extended instrumental techniques. After World War II, the style and techniques of musical composition evolved considerably and musical trends began to continuously change. Conducting contemporary compositions requires new approaches in conducting methods. This paper examines a) introduce important elements of Birtwistle's compositions in the 1960, b) include an updated score of Entr'actes and Sappho Fragments (notated by the author), and c) provide a performance guide to the work.

The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

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

Made available in DSpace on 2014-07-29T16:25:14Z (GMT). No. of bitstreams: 1 PRELIMINARES.pdf: 24591 bytes, checksum: b9b5fb200776da574fa28d6a5495fbb7 (MD5) Previous issue date: 2009-03-30
This work discusses the role of the harpsichord in Brazilian contemporary music particularly in chamber music. After a brief contextualization of harpsichord in Brazilian chamber music, the work develops in five main parts, namely: part 1 a description of the harpsichord since its origins in the monochord of Pythagoras until the models constructed in present time; part 2 the harpsichord s mechanism is presented in such a way as to elucidate the instrument performance possibilities; part 3 an analysis of idiomatic aspects of the instrument and their influence in interpretative and compositional decisions; part 4 the available repertoire and the process used to organize it including Brazilian solo and chamber music for the instrument. The works are organized by composer, date and medium; part 5 - analytical comments of selected works to be presented in the masters recital. The comments combine Jan La Rue s view with the idiomatic aspects discussed in the part 3 of this paper. The commentaries consider both compositional and performance possibilities. Aspects analyzed include form, instrumentation, level of difficulty, dynamics indication, registration, metric, fingering, use of expanded technique, performance notes and ad-libitum passages (or random elements). As a conclusion, it was possible to organize several Brazilian works for harpsichord in various compositional styles
Este trabalho discute a presença do cravo na música contemporânea brasileira, com enfoque em música de câmera. Após uma breve contextualização do cravo na música de câmera brasileira, o trabalho se desenvolve em cinco partes principais, a saber: parte 1 - apresenta um histórico do cravo desde suas origens, no monocórdio de Pitágoras, até os modelos construídos na atualidade; parte 2 - apresenta-se o mecanismo do cravo e seu funcionamento, como forma de elucidar as possibilidades de execução do instrumento; parte 3 - faz uma análise dos aspectos idiomáticos do instrumento e procura mostrar a influência destes em decisões interpretativas e composicionais; parte 4 - apresenta o repertório para cravo solista e camerista, organizado com indicação de compositor, data e formação para qual foi escrita, além do processo utilizado para sua coleta junto a compositores e acervos no Brasil. As obras coletadas são organizadas com indicação de compositor, data e formação para qual foi escrita; parte 5 comenta analiticamente as obras selecionadas para o recital de defesa sob uma combinação da ótica do teórico Jan La Rue com os aspectos idiomáticos apontados na parte 3. Os comentários consideraram recursos composicionais e possibilidades de performance. Neste sentido, observou-se forma, instrumentação, nível de dificuldade, indicação de dinâmica, indicação de registros, métrica definida, escolha de dedilhado, uso de técnica expandida, notas para o performer e uso de improviso e/ou elementos aleatórios. Ao final do trabalho, foi possível reunir número significativo de obras para cravo de variados estilos composicionais, inclusive com uso de técnicas expandidas

Treatise (D.M.A.) Florida State University, 2004.
Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

This study has investigated the influence of Central Italian folk music in select compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean Sibelius. Through the titles of these pieces, one can infer that they were influenced by the composer living in Italy, or visiting, on holiday. This study also includes a brief history of the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of the more modern 19th-century genre. A review of the evolution of the state of ethnomusicology in Italy, including discussion of art and folk-music instruments, poetry, carnevale, and processions within the region of Italy is included. Further, I provide information on tonal and instrumental characteristics and specific folk dances to aid in the investigation of the treatment of folk melodies within 19th-century pieces. The result of this research not only provides a more accurate interpretation of stylistic issues when 19th-century works containing Italian folk-music attributes are performed, but also the knowledge that the title of a piece does not necessarily indicate a musical significance. Some works exhibit a direct musical influence while others are “Italian” in name only.
School of Music