Dissertations / Theses: 'Chamber winds'

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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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Heller, Lauren. "Bohuslav Martin Chamber Works for Six or More Players Featuring Winds: A Survey and Conductor’s Analytical Study of La revue de cuisine and Jazz Suite." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1335462249.

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Fryer, Cheryl A. "An annotated bibliography of selected chamber music for saxophone, winds and percussion with analyses of Danses exotiques by Jean Françaix and Nonet by Fisher Tull /." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20033/fryer%5Fcheryl/index.htm.

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Peersen, Hild Breien. "Franz Berwald's Quartet for piano and winds its historical, stylistic, and social context /." Connect to resource, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1104257313.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xii, 151 p.; also includes graphics. Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center

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Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.

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Fryer, Cheryl A. "An Annotated Bibliography of Selected Chamber Music For Saxophone, Winds and Percussion with Analyses Of Danses Exotiques by Jean Françaix, and Nonet by Fisher Tull." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4421/.

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An expansive repertoire of original chamber works is available for ensembles comprised of saxophone, wind and percussion instruments. Many musicians, including saxophonists and conductors, are unaware of this enormous body of literature. This produces a compelling need for sources of identification available to conductors, performers and teachers. This study begins to provide such a source through the presentation of selected works and the accompanying annotated bibliography. The lack of awareness of available scores for chamber music with saxophone, winds and percussion among conductors and many performers often contributes to the absence of these works in concert halls. The objective of this lecture-recital document is to make available a tool that includes only original works for the saxophone in a variety of chamber ensemble settings. The nature of this study will be descriptive. The literature chosen for this project reveals varying levels of performance difficulty, compositional techniques, form, and instrumentation. Chosen works employ an ensemble size that requires a conductor or are more successfully performed with a conductor. Selected compositions are illustrated in which the saxophone is identified as a vital ingredient in an already existing repertoire of serious chamber literature. Works in this study include original compositions using from seven to seventeen musicians. Some of the works discussed in this study include double bass and piano. Chapters include information on the Parameters of Study (Introduction, Historical Perspective, Sources, Criteria, Selection of Works for Analysis), composer Jean Françaix, a Historical Overview and Detailed Study of Danses Exotiques, composer Fisher Tull, a Historical Overview and Detailed Study of Nonet and an Annotated Bibliography of compositions matching the established criteria. Appendices include List of Works of Fisher Tull and Jean Françaix.

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Johnson, Christopher Scott. "An examination of major works for wind band, brass ensemble, and chamber winds: “Three songs from Sussex” by Hugh M. Stuart, “Fanfare for brass and percussion” by Karel Husa, and “Serenade no. 10 in B flat” by Wolfgang Amadeus Mozart." Kansas State University, 2015. http://hdl.handle.net/2097/19076.

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Master of Music
Department of Music, Theatre, and Dance
Frank C. Tracz
This report provides a comprehensive research and teaching guide for three works for wind ensemble, brass ensemble, and chamber winds: Three Songs from Sussex by Hugh M. Stuart, Fanfare for Brass and Percussion by Karel Husa, and Serenade No. 10 in Bb, Largo, Allegro molto by Wolfgang Amadeus Mozart. Each chapter provides information on the composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, form and structure, other listening suggestions, and seating arrangement considerations. Also included are the lesson plan outlines that were used to teach each work, and a detailed score analysis grid. The report documents the full process of selecting, researching, rehearsing, and performing the selected literature with the hope that it will aid in future performances of the works.

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McDonald, Richard F. (Richard Frederic). "Kinetico for Chamber Wind Ensemble." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504015/.

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This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.

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Gaudry, Danielle D. "L'Age d'or of the Chamber Wind Ensemble." Thesis, University of Cincinnati, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596498.

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This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader's life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d'or of wind chamber music, affecting the local music scene and continuing to hold influence on today's performers of wind music.

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Trew, Michael Russell. "Movements, chamber orchestra Three movements for wind ensemble." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27228.

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Three Movements for Wind Ensemble, a 13-minute work for a wind ensemble consisting of twenty-five instruments, was composed in Vancouver between 1984-86. The first and third movements of this work are reminiscent stylistically of the Neo-classical tradition, while the second is a passacaglia involving a tonal ostinato juxtaposed with atonal ideas. Ideas, both thematic and structural, while entirely original, except for a 6-bar sequence in measures 59-64 of movement 1, were influenced by specific works of several composers. Stylistically, the composition is tonal, and reflects my background in jazz composition as well as my classical training. Chords are frequently characterized by the use of major second configurations, and melodies are derived from numerous sources. The music of Bach, Stravinsky, and Ives exert strong influences on the work. The work is difficult to categorize structurally, because the first and third movements are not traditional forms. I feel that the piece might appeal to both gifted and average listeners. The individual parts are not complex or difficult to perform, but the resulting ensemble yields an overall complexity. It is my hope that other composers will see the possibilities that I have explored as a basis for further exploration.
Arts, Faculty of
Music, School of
Graduate

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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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Chang, Ying-Hsu. "Nationalistic Elements Demonstrated in Villa-Lobos' Clarinet Writing in Chamber Music Works Entitled "Chôros"." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195447.

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In the collaborative integration of the components in Brazilian folk music language and of western art music style, Villa-Lobos' compositional style is unique in reflecting a self-defined method apart from the development of nineteenth century Nationalism. The purpose of this study is to identify the use of the Brazilian nationalistic elements in the music of the Brazilian art music composer Heitor Villa-Lobos as well as to examine his approach of the use of the representative components in his writing for clarinet. The choice of compositions included in this document focuses on the three chamber music works with clarinet in the set of the Chôros: Chôros No. 2 (1924), Chôros, No. 7 (1924), and Quintette en forme de chôros (1928). The Chôros was chosen because these compositions exhibit the maturity of Villa-Lobos' writing style of Brazilian nationalistic language. This study also discusses the historical background of traditional choro music as a prominent style in Brazilian popular music during the 1920s and analyzes how this genre influenced the set of Villa-Lobos' Chôros.

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Bertholds, Alexander. "CFD Simulations of the New University of Sydney Boundary Layer Wind Tunnel." Thesis, Uppsala universitet, Institutionen för teknikvetenskaper, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-166945.

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Using Computational Fluid Dynamics Simulations, the flow in the new University of Sydney closed circuit wind tunnel has been analyzed prior to the construction of the tunnel. The objective was to obtain a uniform flow in the test section of the wind tunnel while keeping the pressure losses over the tunnel as low as possible. This was achieved by using several flow-improving components such as guide vanes, screens, a honeycomb and a settling chamber. The guide vanes were used in the corners and in the diverging part leading into the settling chamber, giving a significant improvement of the flow as they prevent it from taking undesired paths. The settling chamber is used to decelerate the flow before it is accelerated when leaving the settling chamber, a process which reduces the turbulence in the flow. Screens were used in the settling chamber to further improve the flow by imposing a pressure drop which evens out differences in the flow speed and reduces the turbulence. The honeycomb, which is situated in the end of the settling chamber, makes the flow more uniform by forcing it to go in only one direction. A uniform flow was obtained using three screens and one honeycomb together with the guide vanes and the settling chamber.

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Stein, Edward Garret. "An examination of major works for wind band, and chamber ensemble : "Pantomime" by Pierre Mercure, "From chaos to the birth of a dancing star" by Allan Gordon Bell, and "Tafelmusik" by Godfrey Ridout." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/290.

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Chase, Jared G. "Le bal de Béatrice d’Este by Reynaldo Hahn: A Critical Edition." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1298394760.

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Mahr, Timothy Jon. "An annotated bibliography and performance commentary of the works for concert band and wind orchestra by composers awarded the Pulitzer Prize in music 1943-1992, and a list of their works for chamber wind ensemble." Diss., University of Iowa, 1995. https://ir.uiowa.edu/etd/5083.

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

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Dodd, Raymond H. "Four musical compositions (with accompanying notes) : Prezzo Concertante for symphony orchestra; Concerto for bassoon and chamber orchestra; Sea Gods for 8-part chorus; Improvisation for wind quintet." Thesis, University of Aberdeen, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262477.

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The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) Pezzo Concertante A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) Sea Gods This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) Improvisation for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.

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Wimmer, Alexander Minh. "An examination of contemporary works for wind band and chamber ensemble: “Night dances for wind ensemble” by Bruce Yurko, “Simple gifts: four Shaker songs” by Frank Ticheli, and “Octet in E-flat, Op. 103” by Ludwig van Beethoven." Kansas State University, 2014. http://hdl.handle.net/2097/17576.

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Master of Music
Department of Music
Frank Tracz
The following report provides a comprehensive analysis of two works for wind band and one small chamber work for woodwind octet: Night Dances for Wind Ensemble by Bruce Yurko, Octet in E-flat Major, Op. 103 by Ludwig van Beethoven, and Simple Gifts: Four Shaker Songs by Frank Ticheli. This analysis provides information necessary for a conductor’s rehearsal preparation. Included is biographical information about the composer and a historical perspective of the composition itself. Highlighted are the technical difficulties, stylistic concerns, musical elements, and form and structure of each composition. As the researcher, my music education mission statement and perspective on quality literature selection are also included. Suggested listening, seating charts, acoustical justifications, and rehearsal plans with researcher evaluations are provided. The compilation of this information will allow conductors to make more informed musical decisions during their preparation and performances of the works.

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Sullivan, Patrick James. "An examination of major works for wind band and chamber ensemble: Flight by Claude T. Smith, Baron Cimetiére’s mambo by Donald Grantham, and Suite persane by André Caplet." Kansas State University, 2013. http://hdl.handle.net/2097/15550.

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Master of Music
Department of School of Music, Theatre, and Dance
Frank Tracz
The following report is a comprehensive analysis of two works for wind band and one work for small chamber ensemble, prepared by Patrick Sullivan. The report was completed in addition to a Graduate Conducting Recital, taking place on Sunday, March 10, 2013 at 3:00pm. The concert featured the Kansas State University Wind Ensemble and took place on the Kansas State University Campus in McCain Auditorium, the conductors were Andrew Feyes and Patrick Sullivan. Audio and video recordings of the conducted performance can be found within the K-State Research Exchange database. The following report includes three comprehensive Unit Studies or Teacher Research Guides found in the Teaching Music Through Performance in Band book series. The report also includes three Tracz Analysis Grids, newly published in The Art of Interpretation of Band Music. The examined pieces are as follows. Full band works, Flight by Claude T. Smith and Baron Cimetiére’s Mambo by Donald Grantham. A chamber work for double woodwind quintet, Suite Persane by André Caplet.

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Hatty, Matthew James II. "Ouroboros." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1357344483.

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Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.

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This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is scored for solo viola and chamber orchestra. A cassette copy of the recital is available with this book.
Arts, Faculty of
Music, School of
Graduate

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Gasche, David. "La musique de circonstance pour "Harmoniemusik" à Vienne (1760-1820)." Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2035/document.

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La musique de circonstance pour "Harmoniemusik" (I760-1820) est un phénomène particulier à Vienne. Des nobles fondent vers 1760 un sextuor ou un octuor pour accompagner les divertissements et les dîners. Ce répertoire occupe encore une place limitée dans la capitale mais ce rôle s'accroît après 1770. Trois fonctions principales de la "Harmoniemusik" sont abordées : "Freiluftmusik", "Tafelmusik "et tout un répertoire destiné aux circonstances. Vienne s'impose comme un centre de la musique instrumentale. Elle compte de nombreuses "Harmoniemusik" au service de la noblesse. Des harmonies se retrouvent aussi dans différents lieux publics. Les œuvres demeurent un genre représentatif des valeurs classiques. L'analyse de partitions démontre les réponses apportées par les compositeurs sur la question du langage instrumental et des sonorités. La musique contribue à la formation d'une identité et traduit une expressivité inattendue qui se répercute dans des ouvrages plus imposants
The occasional music for "Harmoniemusik" (1760-1820) is particular phenomenon in Vienna.Since 1760 the nobility founded there sextets or octets to provide entertainment and to accompany dinners. This repertory plays a very limited part but this role starts to grow after 1770 onwards. Three main functions of the Harmoniemusik are considered : "Freiluftmusik", "Tafelmusik" and a whole repertory destined to specific circumstances. Vienna imposes itself as the centre of instrumental. The Harmoniemusik remained an aristocratic phenomenon but thewind bands are also found in various areas of the capital. The works remains a category representative of classical values. The analysis of scores demonstrates the answers provided by composers to the theme of instrumental language and sonority. The music contributes to the formation of an musical identity and reflects an unexpected form of expression that impacts with the most imposing works

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Leffler, Hannah. "A National Idiom Universally Understood: Brazilian Tradition and Personal Evolution in Osvaldo Lacerda's "Variações e Fuga para quinteto de sopros"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248512/.

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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.

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"An Annotated Guide to Twenty-First Century Wind Chamber Music." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53695.

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abstract: Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice/narrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers. There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000. The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
Dissertation/Thesis
Doctoral Dissertation Music 2019

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"Para Mi Alma for Chamber Wind Ensemble." Master's thesis, 2019. http://hdl.handle.net/2286/R.I.53851.

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abstract: Para Mi Alma is a composition for chamber wind ensemble comprised of an Introduction, two dance movements, and a concluding movement featuring the full ensemble in a chorale-like finale. This piece follows the narrative of an abusive relationship, and the emotional rollercoaster that one experiences during the self extrication and consequential rebirth of identity. Para Mi Alma (For My Soul) is scored for chamber wind ensemble with the following instrumentation: piccolo/flute, Bb clarinet, bass clarinet, bassoon; soprano, tenor, and baritone saxophone; trumpet, trumpet/flugelhorn, horn in F, tenor and bass trombone; double bass, and three percussionists - marimba/congas, auxiliary percussion (wind chimes, suspended cymbal, triangle, bass drum, snare drum, double cowbell, tam-tam), and timpani/timbales. The duration of this work is approximately 11’00”. Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth.
Dissertation/Thesis
Masters Thesis Music 2019

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Hartenberger, Jaclyn. "Doctoral thesis recital (wind conducting)." 2011. http://hdl.handle.net/2152/16876.

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Ouverture fur Harmoniemusik, op. 24 / Felix Mendelssohn-Bartholdy -- Concertino for flute, op. 107 / Cecile Chaminade -- Octet, op. 103 / Ludwig van Beethoven -- Ragtime for eleven instruments / Igor Stravinsky.
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Chen, Wei-Chuan, and 陳威全. "Analysis and Optimization of Practice Wind Instrument Mufflers with Multiple Chambers." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4u4443.

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碩士
大同大學
機械工程學系(所)
106
COMSOL, a multiple physical quantity coupled numerical analysis software, is adopted in the acoustical analysis in this thesis. The primary purpose of the research is to analyze and design wind instrument muffler by adding baffles, extended, tube, perforated tube and sound muffling material. The thesis includes three parts: (1) A straight-through muffler which is added by baffles, extended tube, perforated tube and sound muffling material will be discussed .(2) An assessment of the acoustical performance for the wind instrument muffler. Here, the acoustical effect of the internal extended tube and the placement of perforated will be discussed. (3) A best allocation of the wind instrument muffler with an interior extended tube will be explored by using the artificial neural network in conjunction with the GA optimizer. Consequently, the wind instrument muffler is designed and improved using the COMSOL and the optimal process. The relevant effects of geometric dimensions and targeted frequency will be recognized, with this analysis, the muffler’s competition in market will be greatly promoted.

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"AMERICAN PRIMITIVE." Master's thesis, 2014. http://hdl.handle.net/2286/R.I.25070.

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abstract: American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
Dissertation/Thesis
M.M. Composition 2014

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Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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Fernandes, Jorge Dinis Ribeiro. "A disciplina de Classe de Conjunto no regime de Iniciação: contributo para o repertório da orquestra de sopros." Master's thesis, 2017. http://hdl.handle.net/1822/57213.

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Relatório de estágio de mestrado em Ensino de Música
O presente relatório insere-se no âmbito da realização do estágio profissional do Mestrado em Ensino da Música e pretende documentar o trabalho realizado num projeto de intervenção pedagógica supervisionada, realizado no Conservatório de Música do Porto, que teve como objetivo central a criação de materiais para orquestra de sopros de iniciação. Através da encomenda de obras a jovens compositores portugueses, com sugestões prévias, temáticas e técnicas, os alunos puderam experimentar diversos requisitos interpretativos, nomeadamente o uso abrangente de dinâmicas, a utilização de sons falados que contribuíram significativamente para o caráter das obras e para a motivação na sua execução. Os objetivos delineados para a minha intervenção foram promover e contribuir para o desenvolvimento dos programas e materiais didáticos; desenvolver o referencial musical cultural dos alunos; e, desenvolver atividades que promovam a audição participada dos alunos em contexto de sala de aula: avaliar o impacto das tarefas propostas no contexto de estágio. Após a fase de observação das aulas, sobretudo das aulas de classe de conjunto, pudemos constatar que este projeto envolveu e desenvolveu diferentes linguagens na aprendizagem dos alunos. No final da fase de intervenção foi recolhida alguma informação dos alunos, através de questionários. Após a análise dos mesmos, concluiu-se que este projeto contribuiu significativamente para o progresso e motivação dos alunos participantes. Como atividade final desta intervenção, realizou-se um concerto com as três obras encomendadas em que foi visível e comprovado que os alunos quando estão motivados e gostam dos conteúdos abordados, envolvem-se mais e colaboram para um resultado final com um nível mais elevado.
This report is part of the Master's Degree professional internship in Music Teaching of Minho University and aims to document the work carried out in a supervised pedagogical intervention project, at the Oporto Music Conservatory. The main objective was to stimulate the repertoire creation for a children wind orchestra. Through the commissions to young Portuguese composers and therefore an approach to different languages and concepts, the students experienced different musical requests, namely the wide use of varied dynamics and the use of spoken sounds. The objectives planned for the intervention were: to promote and contribute to the development of didactic materials; to develop the students cultural musical referential; to develop activities that promote the students active hearing in the classroom; to evaluate the impact of the proposed tasks. After the observation period, we could understand that this project involved and developed different languages in the students' learning process. At the end of the intervention period, information was collected from the students through questionnaires which allowed us to conclude that this project contributed significantly to the progress and motivation of the students. The final activity of this intervention, complied a concert by the students playing the three commissioned scores. At this point was visible that when students are motivated and when they like the working materials, they become more involved and collaborative achieving a high level final result.

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"A portfolio of music compositions." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075468.

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Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work.
Tam, Chin Fai.
Thesis (D.Mus.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 391-392).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese; includes in Chinese.

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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Addie, Sean C. "“Go back to the capital and stay there”: the mining industry’s resistance to regulatory reform in British Columbia 1972-2005." Thesis, 2017. https://dspace.library.uvic.ca//handle/1828/8988.

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The Barrett (1972-1975) and Harcourt-Clark (1991-2001) New Democratic Party (NDP) governments attempted to redefine their relationship with the mining industry by changing the regulatory structures that governed mining in British Columbia. In both cases the mining industry publicly resisted these attempts, and was successful in having the reforms dismantled by subsequent free-enterprise oriented governments. These instances of conflict were centred on a foundational debate over government’s role in, and/or duty to, the mining industry. Intense industry-led resistance occurred when the traditional industry-government compact, which required government to serve as a promoter of the industry, and a liquidator of Crown owned mineral resources, was perceived to have been violated. The Barrett government more stringently asserted its ownership of public mineral resources through the enactment of a mineral royalty, and by assuming greater regulatory authority over mining operations. These actions instigated a substantial public relations campaign against the Barrett government over taxation laws. The Harcourt-Clark government pursued the development of strategic land-use plans and rejected the historic consensus that mining was innately the highest and best use of the land. This led to substantial anti-government rhetoric and an industry withdrawal from all public engagement and land-use planning processes. In both cases the mining industry was able to revive the traditional relationship when free-enterprise oriented governments replaced the NDP administrations.
Graduate
2018-12-15

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Dissertations / Theses on the topic 'Chamber winds'

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