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Relevant bibliographies by topics / Chamber repertoire

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Academic literature on the topic 'Chamber repertoire'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Chamber repertoire"

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Iglitzin, Karen, and Ross Harbaugh. "Student Chamber Music Repertoire List." American String Teacher 42, no. 1 (February 1992): 58–59. http://dx.doi.org/10.1177/000313139204200123.

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Slowik, Kenneth. "Chamber Music Forum The Haydn Baryton Trios: Little-Known Repertoire Gems." American String Teacher 62, no. 3 (August 2012): 24–27. http://dx.doi.org/10.1177/000313131206200304.

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Sodonis, Chloë. "Johannes Brahms’s Horn Trio and Its Unique Place in the Chamber Music Repertoire." Musical Offerings 12, no. 1 (2021): 25–37. http://dx.doi.org/10.15385/jmo.2021.12.1.3.

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The purpose of this research is to explore the elements in Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40, that contribute to its unique position in the vast and revered library of chamber music. These include Brahms's use of folksong, five-measure phrases, a variation on sonata form, developing variation, emotional elements, and unique instrumentation. The German folk song, Es soll sich ja keiner mit der Liebe abgeben is almost identical to the opening fourth movement theme of the horn trio. Brahms incorporates portions of this melody throughout all four movements of his horn trio which demonstrates an internal unity and cohesive use of folksong that contribute to his work’s individuality. This is one of many examples of Brahms’s attention to detail and use of surprising elements that allow his horn trio to stand out among thousands of other works. Through studying portions of Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40., analyzing distinctive qualities of this work, and comparing these elements to those of other chamber works of the time, one can conclude that this piece has a unique place in the chamber music repertoire.

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Placilla, Christina. "Chamber Orchestra & Ensemble Repertoire: A Catalog of Modern Music (review)." Notes 69, no. 1 (2012): 68–69. http://dx.doi.org/10.1353/not.2012.0107.

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Taran, Vladimir. "CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU." Akademos 60, no. 1 (June 2021): 134–36. http://dx.doi.org/10.52673/18570461.21.1-60.18.

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Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations componentistic concerned.

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Simion, Aurelia. "Jazz Influences in Chamber Musical Works created by Composers from Iaşi at the Beginning of the 21st Century." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 242–55. http://dx.doi.org/10.2478/ajm-2019-0014.

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Abstract Chamber Music has always been a genre predefined to a certain audience. At the merge of the 20th and 21st Centuries, the interest for this genre has grown exponentially, from Romanian and Bessarabia composers alike. Because the concept of Chamber Music has evolved during the ages and has always offered the possibility for experimentation, it has managed to infiltrate into present day Ensembles, by associating timbre and constructive heterogenic instruments. The search for new ways of expressing oneself, new sounds and new stylistic methods and the desire to use new types of sound emission represent a continuous motivation for the composers, whose contribution to the Chamber Ensembles is frequently enrichened. Thus, the Jazz influence has a significant role inside the works of Sabin Pautza, Romeo Cozma (Romania) and Oleg Negruța (Republic of Moldova). The article is focused on Chamber Music compositions with Jazz influences, written by Iași authors. The purpose is to create a general presentation and also a structural-interpretive analysis of some works from my personal repertoire, which was actually one of the main criteria of selection. The objects of the research are: highlighting the particularities of the genre and style of contemporary works; presenting the interpretive aspects of the compositions and proposing some personal suggestions and tips. Although the selected works have been initially composed for different instruments and have been played to live audience, they have not presented themselves, so far, as a research subject, and thus have not been analyzed. Taking into consideration this deduction, the novelty and the personal contribution are visible in the scientific research that deals with the autochthonous compositional patrimony. The aspects presented in this article can be used for pedagogical processes and, at the same time, they can behave as a practical method in managing the chosen repertoire.

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Berezhnoy, V. Yu. "MODERN RUSSIAN MUSIC FOR A BAYAN DUET: NEW TRENDS (last third of the XXth — beginning of the XXIst century)." Arts education and science 1, no. 2 (2021): 15–22. http://dx.doi.org/10.36871/hon.202102002.

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The article analyzes the repertoire for a duet of bayan players, which had been created by Russian arrangers and composers since the second half of the 70s of the XXth century to the beginning of the XXIst century. The article considers the reasons for the later creation of the first original compositions for the modern bayan duet in comparison with the repertoire for solo bayan, and defines the concept of "modern repertoire". Comparisons are drawn between the possibilities of presenting musical fabric in the works created for a mono-timbre bayan with ready-made chords in the left half shell, and a multi-timbre free bass instrument. In modern music for a bayan duet, in contrast to the works of the 1940s – early 1970s, there are other ways of presenting melodic, figurative line, as well as harmonic background in the left half shell of the bayan. The author considers the role of the timbre palette in modern compositions for a bayan duet and reveals the performance capabilities of this ensemble, which caused numerous arrangements of works written for piano, organ, chamber ensemble and orchestra. The figurative sphere laid down by the authors in the works written for a duet of traditional bayan and a duet of modern instruments is compared. The modern repertoire for this instrumental duet is created by both bayan composers and composers writing music for other forms of performance.

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Petrova-Kirkova, Galya. "THE REPERTOIRE IN FOLK SINGING TRAINING AS AN OPPORTUNITY FOR CREATING CREATIVITY IN STUDENTS MINDS - THE FUTURE TEACHERS." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 453–57. http://dx.doi.org/10.35120/kij3002453p.

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Nowadays, the formation of creative attitude is a current issue which is directly related to the goals and missions of todays folk singing training and education; and to the uniqueness and adaptability skills in each and every personality. Through the means of expression (concluding improvisation) found in bulgarian folklore, the repertoire in folk singing training allows the development of a creative attitude. The repertoire in folk singing training among with the means of expression in both authentic and processed folklore songs allows the ability of creative thinking in every student to grow. The repertoire mainly contains folk songs with a piano accompaniment. To develop a creative attitude, the training uses interdisciplinary approaches. The students are pushed into using the knowledge they've received from other classes (Music theory, solfeggio, Musical analysis, Piano class). For example to recognize the type of piano accompaniment; the type of introduction; the purpose of the piano accompaniment in the song itself. An important moment is tracking and understanding the connection between voice and instrument ,between being a solo performer or a part of a chamber ensemble.There is a special part of the repertoire which present non-standard composition tools- aleatoric models, improvisational thinking, compositional interpretation. The practice approaches are:  assimilation of the abilities and knowledge (orientation, activities …);  detail reading of the songs context;  learning how to be, behave and act as a performer;  professionally training the students how to become qualified teachers.

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Conway, Paul. "BBC Proms 2013: Diana Burrell, Harrison Birtwistle, Param Vir and Charlotte Seither." Tempo 68, no. 267 (January 2014): 57–59. http://dx.doi.org/10.1017/s0040298213001368.

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As in previous Proms seasons, Cadogan Hall's 2013 chamber concerts series presented some of the most interesting repertoire. On 5 August, Tine Thing Helseth and her all-female brass ensemble tenThing gave the world premiere of a new piece by Diana Burrell. She has already written a substantial work for brass ensemble, Gold, dating from 2001 (which also requires 3 gongs and a piano), and her new BBC commission has a similarly punchy title capturing the bright and burnished qualities of its instrumentation – Blaze. Scored for three trumpets, flugelhorn, horn, three tenor trombones, bass trombone and tuba, this virtuosic, 10-minute showcase grabbed the audience's attention from the start with a striking, fanfare-like idea that recurred in extended form as unison chords during the closing bars, providing an incandescent coda. In a brief pre-performance talk, the composer spoke of the often-untapped technical capabilities of brass instruments, and her demanding piece successfully tapped into this potential, as she gave each performer a chance to shine within its teeming textures. In addition to these challenging solo episodes, the score was memorable for its inventive deployment of various combinations of instruments, denoting a genuinely chamber-oriented work. Blaze provided a strong focal point for a programme that otherwise consisted solely of arrangements, nearly all by guitarist Jarle Storløkken, of repertoire originally conceived for other forces, such as piano pieces by Grieg and excerpts from Carmen and The Threepenny Opera.

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Conway, Paul. "Huddersfield Contemporary Music Festival 2012." Tempo 67, no. 264 (April 2013): 66–69. http://dx.doi.org/10.1017/s0040298213000089.

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As diverse and inquiring as ever, the 35th Huddersfield Contemporary Music Festival provided nine days of unfamiliar and rarely encountered repertoire, sometimes rewarding, sometimes baffling, but always worth sampling. The 2012 late-November celebration of avant-gardism placed an emphasis on Norway and the voice in its many guises, both strands exemplified by the choice of Trondheim-born vocalist Maja S. K. Ratkje as composer-in-residence. Yet despite this spotlight on vocal and choral works, there was no shortage of instrumental and chamber music, most of it new to Britain.

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Dissertations / Theses on the topic "Chamber repertoire"

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Anderson, Dianna. "Chamber music in early piano study a guide to repertoire /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085758063.

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ANDERSON, DIANNA. "CHAMBER MUSIC IN EARLY PIANO STUDY: A GUIDE TO REPERTOIRE." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085758063.

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Bartley, Alan Philip. "Chamber music concerts in suburban London, 1895-1915 : aspects of repertoire, performance and reception." Thesis, Oxford Brookes University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404757.

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Specht, Barbara A. "Selected Chamber Excerpts for Clarinet Taken from the Repertoire of the Mixed Wind Quintet." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1393193121.

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Hemberger, Glen J. "Selected Songs for Chamber Winds and Soprano: Rediscovering a Forgotten Repertoire of John Philip Sousa." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/hemberger%5Fglen/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Includes 8 concert and recital programs (1997-2001). Accompanied by recital, recorded Sept. 6, 2001. Includes bibliographical references (p. 100-107).

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Gibb, Charles. "Benjamin Britten's Neglected "Gemini Variations," Op. 73 and Its Place in the Chamber Music Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703357/.

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In 1964, Benjamin Britten met the multi-instrumentalist twins Zoltán and Gábor Jeney while traveling in Budapest. At their behest, Britten composed Gemini Variations: Twelve Variations and Fugue on an Epigram by Kodály, a work which exploited the brothers' abilities on multiple instruments: Zoltán on flute and piano, and Gábor on violin and piano. In foreseeing the difficulties of programming this work, Britten simultaneously arranged a version for four players: flute, violin, and four-hand piano, eliminating the need for switching instruments. Despite this arrangement, as well as a very public and highly anticipated premiere at the Aldeburgh Festival in 1965, Gemini Variations has remained neglected by performers and scholars alike. This document serves to 1) promote a work that can justifiably be considered as part of the chamber music repertoire involving flute; 2) advocate for its musical merit and appropriateness for chamber music concerts made up of more traditional groups of players; 3) compare the two-player and four-player versions Britten wrote; and 4) explore the likely reasons why a piece by one of the most celebrated composers of the twentieth century has remained largely ignored for over fifty years.

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Bailey, Megan (Trumpeter). "A Pedagogical Guide to Brass Quintet Repertoire for the Trumpet." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538791/.

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In today's rapidly changing performing arts market, trumpet players are required to be more versatile than ever. Trumpet performing jobs are diversifying and for a trumpeter, employment often requires the multi-faceted skill set that includes the ability to perform in all styles and settings ranging from jazz to classical, solo to large ensemble and brass quintet. As the demand for the brass quintet medium has grown, the study of chamber music repertoire has also become a common requirement in collegiate music programs. However, coaching in chamber music is limited, sometimes to as little as one hour per week. This coaching time is generally in the format of a single coach instructing the full chamber group, and therefore one-on-one instruction/attention is limited or nonexistent, leaving the onus of learning on the students, for whom these collegiate chamber music ensembles are their first exposure to the medium. While students have ample access to concentrated instruction for orchestral, band, and opera excerpts through the multitude of existing excerpt books, such a resource for trumpet players learning brass quintet repertoire does not yet exist. The purpose of this project is to create a succinct guide to the performance of the trumpet parts of standard brass quintet repertoire.

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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.

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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

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Rice, Kathryn Elizabeth. "Pedagogical Applications in the Clarinet Quartets of Yvonne Desportes." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707316/.

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Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

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Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.

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Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

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Books on the topic "Chamber repertoire"

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Chamber orchestra and ensemble repertoire: A catalog of modern music. Lanham, Md: Scarecrow Press, 2011.

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Chamber music repertoire for amateur players: A guide to choosing works matching players' abilities. 2nd ed. Cambridge: H. Haynes, 1996.

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Haynes, Harold. Chamber music repertoire for amateur players: A guide to choosing works matching players' abilities. Cambridge: H. Haynes, 1994.

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Haynes, Harold. Chamber music repertoire for amateur players: A guide to choosing works matching players' abilities. 3rd ed. Cambridge: Harold Haynes, 2002.

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Bartley, Alan Philip. The Edwardian recital: The repertoire, performance and reception of chamber music in London, with special reference to 1908. Oxford: Oxford Brookes University, 2000.

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A conductor's repertory of chamber music: Compositions for nine to fifteen solo instruments. Westport, Conn: Greenwood Press, 1993.

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National Federation of Music Societies., ed. The NFMS chamber catalogue: (repertoire service). National Federation of Music Societies, 2001.

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Craig, Karen Lynn. Larry Combs: Interpretation of the clarinet symphonic audition repertoire. 1993.

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Nichols, Roger. Poulenc. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.001.0001.

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Francis Poulenc is a key figure in twentieth-century classical music, as well as an unorthodox and striking individual. This book draws upon Poulenc's music and other primary sources to write an authoritative life of this great artist. Although associated with five other French composers in what came to be called “Les Six,” Poulenc was very much sui generis in personality and in his music, where he excelled over a wide repertoire-opera, songs, ballet scores, chamber works, piano pieces, sacred and secular choral works, orchestral works and concertos. This book fully covers this wide range, while also describing the vicissitudes of Poulenc's life and the many important relationships he had with major figures such as Satie, Ravel, Stravinsky, Diaghilev, Cocteau and others.

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Levy, Benjamin R. Compositional Flourishing (1967–70). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0007.

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Having codified a repertoire of personalized techniques, Ligeti deployed them in many new combinations in an extremely productive period at the end of the 1960s. Works composed in this period include Continuum, Two Études for Organ, String Quartet no. 2, Ten Pieces for Wind Quintet, Ramifications, and the Chamber Concerto. This chapter looks at the contrapuntal techniques that built on the composer’s previous practice as well as those derived from harmonic networks. The latter allowed Ligeti to move away from the cluster-based harmonic palate characteristic of his earlier works. In these works Ligeti looked for diverse means of expression and presentation, and he founds ways of composing transitions between techniques, putting patterns derived from harmonic procedures into polyphonic combinations and deriving static harmonic fields from material generated as a melody.

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Book chapters on the topic "Chamber repertoire"

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Seaman, Barry, and James Joyce. "Chamber Music Book I (1981)." In New Vocal Repertory, 7–10. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18494-1_2.

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Dolgushina, Marina Gennadievna. "Approaching the Problem of National Strata Ratio: Statistical Analysis Methods for Assessing Vocal Chamber Repertoire in Russia of the First Half of the 19th Century." In Current Research in Systematic Musicology, 137–43. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74039-9_14.

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Bradshaw, Susan. "Piano music: recital repertoire and chamber music." In The Cambridge Companion to Bartók, 104–17. Cambridge University Press, 2001. http://dx.doi.org/10.1017/ccol9780521660105.009.

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Rice, Albert R. "Music for the Chalumeau." In The Baroque Clarinet and Chalumeau, 43–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0002.

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Chapter 2 provides an overview of chalumeau music written from 1694 to 1780. Seventeen works are discussed that represent the large chalumeau repertoire: opera, oratorio, cantata, psalm, concerto, stage, chamber, and orchestral. The chalumeau was prominently used in European courts, schools, and concerts in Vienna, Hanover, Düsseldorf, Venice, Prague, Darmstadt, Hamburg, Liechtenstein, Frankfurt, London, Darmstadt, Zerbst, Eisenstadt, Dresden, and other cities, and in monasteries at Göttweig in Austria, and Osek and Lubens in Poland. Chalumeaux were made in five sizes: soprano, alto, tenor, bass, and basset bass (extended range bass). Soprano and bass chalumeaux were used in Vienna by several composers; soprano chalumeaux in Amsterdam by Dreux; alto, tenor, and bass chalumeaux by Graupner and Telemann in Darmstadt, Hamburg, and Frankfurt; and basset bass by Steffani in Düsseldorf and Pichler in Göttweig.

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Rice, Albert R. "Music for the Baroque Clarinet." In The Baroque Clarinet and Chalumeau, 129–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0005.

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This chapter presents an overview of music written by 23 composers representative of a larger repertoire written about 1715 to 1760 for the Baroque clarinet. The works examined include opera, cantata, duos, concertos, wedding music, chamber music, military music, sacred arias, requiem, and motets by Dreux, Vivaldi, Caldara, Faber, Telemann, Handel, Chinzer, Rathgeber, Münster, Glaser, Kölbel, Molter, Sparry, Rameau, Zach, Stark, Johann Stamitz, Graupner, d’Herbain, Pasterwiz, La Borde, Ulbrecht, and Arne. The music is written in a trumpet style characterized by repeated notes, incomplete arpeggios, fanfare motives, limited range, and restricted use of the low register. In works composed after about 1730, a lyrical style of melodic writing takes on a greater importance with scale passages, leaps of an octave or more, and more frequent use of the low register.

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MORETTI, LAURA. "Spaces for Musical Performance in the Este Court in Ferrara (c. 1440–1540)." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0014.

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The aim of this chapter is to identify the spaces most commonly used for musical performance in the residences of the court of Ferrara in the period between 1440 and 1540. Various types of musical performance accompanied court life during state and dynastic events, public and private festivities, banquets, religious services, theatrical representations and occasional entertainments within the private circles of the princes and rulers. Proceeding from the analysis of these events, it has been possible to identify certain locations – chapels, large halls, salotti, small chambers and studioli – in various spaces in the court residences, in which musical performances are known to have taken place. From this evidence, the chapter attempts to characterise the architecture of these rooms, as well as performance practices, the types of repertoire and other relevant details needed to paint the picture of the places used for music-making in these courtly settings.

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Denison, Edward. "Chinoiserie: An Unrequited Architectural Affair." In British Modernism and Chinoiserie. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748690954.003.0011.

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Chinoiserie’s stylistic repertoire in Britain over recent centuries has encompassed a wide range of art practices, but it has remained conspicuously absent from one art form in particular: architecture – the slow art. Despite a promising, prominent and pioneering entrance onto Chinoiserie’s stage in the mid-eighteenth century, most notably through the work of Sir William Chambers, reverence for China in the field of architecture has been negligible when compared with decorative, visual and literary art forms. While acknowledging this relative obscurity, this chapter examines the long and complex architectural relations between Britain and China up to the mid-twentieth century, a seminal epoch in which Chinoiserie was gaining approbation in other art practices, architectural Modernism was at its height internationally, British architects were travelling to or being raised in China in greater numbers than at any time in history, and the first Chinese architects were returning from an education in various foreign countries, including Britain. These myriad architectural interrelations have received relatively little scholarly attention as a collective group in comparison to other art practices while the individual architects, Chinese (such as Luke Him Sau) and British, and their work remain underexplored.

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Reports on the topic "Chamber repertoire"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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