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Dissertations / Theses on the topic 'Choruses, Secular (Mixed voices) with orchestra'
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1
Lingle, David A. "With music strong by Lukas Foss : a perspective and analysis /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1997.
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Schneider, Gregory Alan. "I Never Saw Another Butterfly: A Composition for SATB Choir and Chamber Orchestra." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278223/.
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...I never saw another butterfly... is a twelve movement chamber work scored for SATB choir, narrator, percussion I [vibraphone, and tomtoms (4)], percussion II [timpani (4), tam-tam, snare drum, and bass drum], guitar, violins I and II, viola, and cello and is based on the book of the same name. It contains a variety of compositional techniques, forms and genres.
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Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.
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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.
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Yang, Yu-Lin 1974. "Three scenes in dreamland : (1999-2000) : for mixed choir and instrumental ensemble." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33371.
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Three Scenes in Dreamland is a 17-minute piece for mixed choir and instrumental ensemble. It consists of three movements: "Crystal Sky," "The Chanting Light" and "The Field Where I Was Born, Where I Died." Each movement uses a particular combination of the available instruments. The work is inspired by various aspects of Chinese culture and Buddhism, and certain possibilities of combining Western and non-Western musical elements are explored over the course of the three movements.
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Griffin, Sean Franz Patrick. "Snow Queen : in the halls of the Snow Queen and what finally happened there /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099919.
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Thesis (Ph. D.)--University of California, San Diego, 2003.<br>Vita. For 6 solo sopranos, women's chorus, string orchestra, percussion, harp, piano, and celesta. Accompanying tape includes recording of work.
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Woodward, Nathan Paul L'Engle Madeleine Rudy Paul. "Out of the shadows." Diss., UMK access, 2006.
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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.<br>For chorus and wind ensemble. "A thesis in music composition." Madeleine L'Engle, poet ; Paul Rudy, advisor Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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Roi, Micheline. "Of a covered harvest." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61165.
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Of A Covered Harvest is a twenty minute music composition for alto solo, mixed double choir (SSAATTBB) and percussion. It uses the following texts: Sacrifice by Alicia Munoz; Non Linear by Phyllis Webb and ancient Mayan words. The piece explores the themes of power, choice and the crowd versus the individual using the musical depiction of a ritual human sacrifice as a forum for commentary. The three part structure of the piece is delineated by the narration of the ritual by the choir: preparation, sacrifice and resolution, and by the emotional reaction to the sacrifice by the alto solo (victim): denial, isolation and anger; depression and bargaining; and acceptance. Of A Covered Harvest uses contemporary vocal techniques such as vocalizations, paralanguage and the phonetic manipulation of text. The piece follows in the tradition of twentieth century performance practice in its use of graphic notation and aleatoric passages.
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Schultz, Arlan N. (Arlan Nelson). "Edifice : op.4, no.2." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22539.
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"EDIFICE" Opus 4. No. 2, is a composition scored for double, mixed chorus, soprano and baritone soli, 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 trombones, and bass trombone. The piece is based on the poem EDIFICE, by Tean E. Schultz, which was written at the request of the composer.<br>The philosophical impetus of this work stems from the process of perspectival redefinition, the resultant alteration in perceptual space being of primary importance. This could be viewed as the meta-text of the poem and forms the basis for an iconic realization of this concept in "EDIFICE".<br>The work is characterized by the unusual spatial disposition of its constituent ensembles. Specifically, the two mixed choirs are antiphonally situated, one on either side of the audience, with the wood winds and brass set in two concentric circles between the two choirs. The wood winds and bass trombone are enclosed by the remaining brass. This arrangement of the instruments relates directly to the imagery implicit in the third segment of the poem; " ... I will not listen, My self is pouring Outside me; Like a cast of metal Covers me ... ".<br>In terms of compositional designs the work explores such techniques as cyclical permutation of phonemic units derived through the phonetic fragmentation of text segments; phonemic manipulation in a multi-layered texture for the purpose of timbral variation; inexact rhythmic imitation, termed "quasi cannon"; serialized and "eroded" breathing rhythms; continuous redisposition of semi-chromatic pitch cells as foundational harmonic structures; and textural "cross-fading" within the antiphonal distribution of forces.
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Amstutz, Scott A. "The bells for eight-part mixed choir : text, Edgar Allan Poe /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/835.
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Radford, Laurie 1958. "Origophonie : for 2-12 voice choirs (SATB), 6 percussion and tape." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59615.
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Smith, Steven Lyle. "Haiku Seasons." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2695/.
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Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.
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Wilson, Kathleen McCormick, and Giovanni Giacomo fl 1582-1609 Balletti voices (5) Selections Gastoldi. "A recital." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9980.
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Title from accompanying document.<br>Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble.<br>Digitized by Kansas Correctional Industries
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ISAACS, KEVIN JAY. "TE DEUM OPUS 62. (ORIGINAL COMPOSITION)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188189.
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This work is a setting of the hymn of Thanksgiving written by St. Nicetius in the sixth century, the TE DEUM. In the Roman Catholic liturgy it replaces the last responsory of Matins on Feast Days and Sundays and in the Anglican liturgy it is one of the canticles of Morning Prayer. The text is one of the few surviving examples of Latin "Psalmus Idioticus" which were, along with the GLORIA of the Ordinary of the Mass and the EXULTET, early Latin texts written in imitation of the Psalms. This TE DEUM was written to continue a tradition of choral settings of this text, in Latin, English, and German, beginning with Palestrina and Handel, and continuing with Haydn, Mozart, Berlioz, Bruckner, Dvorak, Verdi, Britten, Walton, Kodaly, Persichetti, and Vaughan Williams to the present. The quotes from the Metamorphoses for 23 strings of Richard Strauss are used in honor of Strauss' quote of Beethoven's EROICA Funeral March at the end of the Metamorphoses. Strauss was acknowledging the "Master" and his compositional tradition and in the same way I humbly respect the artistic legacy I have inherited. The text and the music have symbiotically wended their way through the centuries out of the pens of the masters. The work is set using the English translation of the Anglican Church, is in one movement and is scored for the following forces: double woodwind with alto saxophone, four horns, 2 trumpets, 2 trombones, tuba, timpani, suspended cymbal, tam tam, tubular chimes, vibraphone, triangle, crash cymbals, SATB soli, SSAATTBB chorus, and strings.
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Piekarski, James. "Te Deum." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935762/.
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Te Deum is a single movement work for chorus and orchestra. It employs an ensemble comprising the complement of string, woodwind, and brass instruments typically available in a small symphony orchestra with an expanded percussion section. The choral forces are in proportional relation to the instrumental forces are in proportional relation to the instrumental forces and it is sung in the original Latin. The intended performance time is approximately 18 minutes. Temporal aspects of the work are characterized by three contrasting sections. The slow and solemn opening section is given to long stretches of silence sparsely punctuated by low drums. The remainder of the work is texturally more dense and employs a much quicker tempo. A steady core pulse is also a key feature, with attention given to avoiding any regular metrical implications by use offset accents, non-consecutive identical phrase lengths, and a slow harmonic rhythm.
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Lemieux, Glenn C. (Glenn Claude). "Sacred Symphony." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330973/.
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Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals.
The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.
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Job, Lynn R. (Lynn Renee). "Elatio: Praises and Prophecies." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935642/.
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ELATIO: Praises and Prophecies is an allegorical composition based upon a collection of carols, poetry and prose in selected verses, phrases and fragments from medieval Christian liturgy, the canonical Hebrew Bible (Old Testament) and New Testament, and portions of various non-canonical Dead Sea Scroll texts. The languages used in the selections presented here are English, Medieval Latin, and transliterated Biblical Hebrew.
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Norris, Thomas B. "In the Midst of Spoils: A Composition for Mixed Chorus (SATB) and Small Instrumental Ensemble." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935835/.
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In the Midst of Spoils is a setting, for SATB choir and small instrumental ensemble, of the poem "Blight," by Ralph Waldo Emerson. Emerson's poem contrasts modern man's exploitative attitude toward nature with the more reverent attitude assumed by ancient or primitive cultures. This setting is in a single movement, approximately twenty minutes in duration, consisting of fifteen distinct sections.
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Grant, John Ward. "Folio of compositions and critical commentary /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.
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Woodward, Mark E. McNeil Ryan Woodward Mark E. Aubuchon Rachel McKenney W. Thomas. "Three songs for unaccompanied choir." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6259.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.
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Makela, Steven L. "Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2435/.
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Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.
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Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.
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Hill, Jeanne E. (Jeanne Elizabeth). "Requiem for Netted Fish: An Intermedia Composition for Choir, Harp, and Dance." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500350/.
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Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.
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Green, Richard T. (Richard Thurmond). "Remembrance of the Fiftieth Anniversary of the Dedication of the Moravian Church at Lititz, Pennsylvania, 13 August 1837: An Edition of Moravian Music." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500942/.
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This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-century Moravian tunebooks. The special texts come from an original set of orders of service.
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Hundley, Marion Shawn Kubík Ladislav Owen Wilfred. "Dulce et decorum est." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04092004-181309/.
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Dissertation (D.M.A.) Florida State University, 2004.<br>Advisor: Ladislav Kubik, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). English words by Wilfred Owen printed as text preceding score. Document formatted into pages; contains 90 pages. Includes biographical sketch.
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Bolden, Benjamin. "Opus 25." Thesis, 1997. http://hdl.handle.net/2429/5905.
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Opus 25 is a collection of compositions which I created between September
1995 and April 1997. Instrumentation varies; there are works for choirs, chamber
ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in
this collection have been performed at some point during this same period, and
recordings of these performances can be found on the accompanying cassette.
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"A portfolio of music compositions." Thesis, 2013. http://library.cuhk.edu.hk/record=b5549254.
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這作品集共有三首作品：“謎語 I, 110806“ 為四個家居電話而作, “ 影。空“ 一首電子音樂作品, “交響詩“ 為管樂團而作<br>我嘗試在作品集當中運用一些以前我並不經常使用的作曲概念、作曲技巧，及配器法和一些樂器組合，以致我可以創作一些突破我以往風格的作品。以上三首作品都屬於不同類型，也有作不同的特質；樂曲順著創作日期先後而排列。我嘗試在 “謎語 I, 110806 和 “影。空 這兩首較早期的作品中實驗一下當時對我而言是創新的樂曲種類和作曲技巧。較近期的作品“交響詩是為管樂團而作。因為我學習圓號多年，所以這是我最熟悉的樂曲類型。<br>“謎語 I, 110806“<br>這是一首為四個電話而作的實驗性作品，藉此表達出我們每天都在經歷充滿戲劇性的人生。電話可以產生出脈衝和音頻聲響，無疑是一件樂器。其實很多圍繞著我們的事物都可以用來創作音樂。我為這首樂曲的演出預先預備了一些錄音以在樂曲中特定的時間播出。演奏者可以按他們自己的喜惡以其他錄音代替。<br>“影。空“<br>這是一首揉合電子合成器所產生的電子音效和真實錄音的電子音樂作品。創作靈感來自<聖經>的<傳道書>，我特別是被當中認為人生在世一切都如捕風捉影所觸動。我在音樂中使用了風聲作為一固定反復的樂句以貫穿全曲。有此作為一個無間斷的承托部分令到一些不可能在真實樂器演奏中發生的細緻音樂元素可以在這首樂曲中呈現。<br>“交響詩“<br>這首樂曲的最大特點是我選擇在這首管樂團作品中運用了豎琴和馬林巴琴的二重奏。樂曲起始是一些精簡又有著強烈對比的樂段，這些樂段在樂曲較後部分融合一起，並發展成一長樂段。我在樂曲中主要著意於創造優美的旋律，當中蘊含著不規則的分句，卻不影響樂曲本身的流暢性。<br>This portfolio consists of three pieces: Enigma I, 110806 for four domestic telephones, In Vain Like A Shadow an electronic piece, A Symphonic Poem for concert band<br>In my portfolio, I have attempted to use the compositional concepts and techniques, as well as orchestration and instrumentation method that were unfamiliar to me before, so as to ensure that I was writing works that would stretch beyond my usual musical tendencies. The three pieces in my portfolio all have distinctive styles and genres; each will be presented chronologically according to its completion date. In my two earlier pieces, Enigma I, 110806 and In Vain As A Shadow I wish to experiment with the genres and techniques that were new to me at the time. The most recent work, A Symphonic Poem, is composed for concert band. It is the genre that I am most comfortable and familiar with, owing to my years of training on the French horn.<br>Enigma I, 110806<br>This is an experimental piece composed for four domestic telephones. This came out of my idea of creating a work that would enable music to express the drama we encounter in our daily lives. The telephone is no doubt a musical instrument--it can generate pulses and pitched tones. In fact, many objects that surround us can be used to create music. For the performance of this work in the past, I have prepared some pre-existing recorded sound tracks that can be played alongside at particular moments in time. However, those who wish to make their own sound tracks to substitute mine for the performance are welcome to do so.<br>In Vain As A Shadow<br>This is an electronic piece that combines recorded live sounds with effects that are produced by a synthesizer. While composing this work, I was inspired by the book Ecclesiastes from the Holy Bible; in particular, I was struck by the part about how the life of a man is a vanity. In my music, I have used a drone-like ostinato that permeates throughout the entire work. Using this as the long, seamless foundation of my piece, while delicate gestures are introduced up above, is something that would have been impossible if only acoustic instruments are used.<br>A Symphonic Poem<br>What is most unusual in this work is probably my choice to feature a duet for harp and marimba within a wind band. This piece begins with a few short, contrasting sections that are later combined with one another, and eventually grow to become one long stretch. Much of my attention in working through this piece has been focused on creating beautiful melodic lines that have irregular phrasings, yet will not interfere with the continuous musical flow.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Cheng, Ming Hin Henry.<br>"December 2012."<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2013.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts also in Chinese.<br>Volume I:<br>Cover Page<br>Content Page<br>Acknowledgments --- p.i<br>Abstract --- p.ii<br>Enigma I, 110806 --- p.1<br>In Vain As A Shadow --- p.8<br>Volume II:<br>Cover Page<br>A Symphonic Poem --- p.1
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Johnson, Julie. "A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.
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Wood, Callie. "Portfolio of compositions and exegesis: composing for a choral spectrum." Thesis, 2008. http://hdl.handle.net/2440/54229.
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This portfolio of compositions and exegesis submitted for the degree of Master of Music in Composition, at the Elder Conservatorium of Music, comprises original creative works supported by a detailed commentary. The creative investigation has focused on ‘Composing for a Choral Spectrum.’ This was investigated through practical experiments in choral composition, designed to test the compositional limitations of the choral spectrum, and resulted in a portfolio of choral works. The portfolio includes: simple choral works for young children in one part; choral works for children in two parts; choral works for children in three parts; a choral work for teenage treble voices; a multimedia choral work for boys with changing voices with a moving image DVD; a choral work for male voices; choral works for adult female voices; a complex choral work for adult choirs of a professional standard; and a larger scale choral and orchestral work. The exegesis provides a commentary on the genesis, composition processes, limitations and solutions, for each original work included in the portfolio.<br>Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008
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Wood, Callie. "Portfolio of compositions and exegesis: composing for a choral spectrum." 2008. http://hdl.handle.net/2440/54229.
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This portfolio of compositions and exegesis submitted for the degree of Master of Music in Composition, at the Elder Conservatorium of Music, comprises original creative works supported by a detailed commentary. The creative investigation has focused on ‘Composing for a Choral Spectrum.’ This was investigated through practical experiments in choral composition, designed to test the compositional limitations of the choral spectrum, and resulted in a portfolio of choral works. The portfolio includes: simple choral works for young children in one part; choral works for children in two parts; choral works for children in three parts; a choral work for teenage treble voices; a multimedia choral work for boys with changing voices with a moving image DVD; a choral work for male voices; choral works for adult female voices; a complex choral work for adult choirs of a professional standard; and a larger scale choral and orchestral work. The exegesis provides a commentary on the genesis, composition processes, limitations and solutions, for each original work included in the portfolio.<br>http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1345050<br>Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008
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"Conversation, Dark haze, San-shui Xi-nan." 1998. http://library.cuhk.edu.hk/record=b5896306.
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by Ho Tsz-Yan, Rebecca.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Chapter Part I: --- p.page<br>Chapter ´Ø --- Abstract --- p.1<br>Chapter Part II:<br>Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3<br>Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6<br>Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25<br>Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28<br>Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65<br>Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69<br>Chapter Part III：<br>Chapter ´Ø --- Biography --- p.119
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Cawrse, Anne Rebecca Goldsworthy Peter Rossetti Christina Georgina. "Portfolio of original compositions and exegesis a personal exploration of modal processes /." 2007. http://digital.library.adelaide.edu.au/dspace/handle/2440/49470.
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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.
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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.<br>submitted by Tang Pan-hang Benny.<br>Thesis submitted in: December 1997.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Abstract --- p.i<br>摘要 --- p.ii<br>Acknowledgment --- p.iii<br>Declaration --- p.iv<br>Introduction --- p.1<br>Trombone Concerto (first movement) --- p.2<br>Programme notes --- p.3<br>Remarks --- p.5<br>Instrumentation --- p.6<br>Seating Plan --- p.7<br>Scores --- p.8<br>Post-Zero 零後 --- p.56<br>Introduction --- p.57<br>Programme notes --- p.57<br>Performance direction --- p.61<br>Instrumentation --- p.62<br>Seating plan --- p.62<br>Scores --- p.63<br>"Trio for Flute, Violin and Cello No.2" --- p.144<br>Programme notes --- p.145<br>Performance direction --- p.145<br>Scores --- p.146<br>Biography --- p.159<br>Music Works List --- p.160
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"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.
Full textAbstract:
The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.<br>Tang Lok-yin.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.<br>Librettos (1st work) in English ; abstracts in English and Chinese.<br>Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"<br>Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas<br>Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics<br>Chapter Composition 4 --- Playing Game for Orchestra<br>Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra<br>Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra
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Cawrse, Anne Rebecca. "Portfolio of original compositions and exegesis: a personal exploration of modal processes." Thesis, 2008. http://hdl.handle.net/2440/49470.
Full textAbstract:
This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2.
The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements.
The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.<br>Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
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Cawrse, Anne Rebecca. "Portfolio of original compositions and exegesis: a personal exploration of modal processes." 2008. http://hdl.handle.net/2440/49470.
Full textAbstract:
This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.<br>Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
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Gerhold, John Alan. "Ring : for orchestra and antiphonal women’s choir." Thesis, 1997. http://hdl.handle.net/2429/6681.
Full textAbstract:
Ring is a composition for orchestra (piccolo [doubling flute], two flutes,
two oboes, English horn, two clarinets in B-flat, bass clarinet, two bassoons,
contra-bassoon, four horns, four trumpets, two tenor trombones, bass trombone,
tuba, three percussion parts [including glockenspiel, vibraphone, tubular bells,
snare drum, toms, bass drum, suspended cymbal, drum kit, triangle, and gong],
timpani, harp, piano, and standard strings) and spatially separated women's
choir (SA right, SA left). This arrangement of media is intended to "ring" the
audience with performers. At the notated tempo of two quarter-notes per
second, the duration of the piece is exactly 17'40".
The title of Ring comes from a poem of the same name written by the
composer which is the principal text sung by the choir in the piece. The text of
the poem is as follows: Wendy is a ring / A beginning and an end / Connected /
The finest gold / Melted by touch / Cooled by breath / She fits my every finger /
Without constraint / But permanent / Priceless, Precious, Beautiful / Alone /
She clothes me. The poem and composition were written for, and dedicated to,
the composer's wife.
The ring metaphor ("ring" meaning cyclical, unending, complete)
underlies many of the compositional choices in the work. Much of the surface of
the music and its deeper structural elements are palindromes, which, because
they end as they begin, have a circular nature. Also, the pitch structure of the
piece involves the climactic completion of the "cycle" of the twelve available
equal-tempered pitch classes. A further organizational element is the Fibonacci
series, a mathematical construct which is used to determine small-scale rhythms
and the duration of the larger sections of the work.
These components, taken together, have resulted in a composition filled
with variety and contrasts, which, nonetheless, is quite organically cohesive.
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"Requiem and dream: a ballet suite." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888418.
Full textAbstract:
by Lo Hau Man.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1995.<br>Chapter 1 --- Programme notes of Requiem --- p.1-1<br>Text of Requiem --- p.1-3<br>Programme notes of Dream --- p.1-7<br>Chapter 2 --- Requiem --- p.2-i<br>Instrumentation --- p.2-ii<br>Note and Directions --- p.2-iii<br>Chapter (I) --- Requiem Aeternam --- p.2-1<br>Chapter (II) --- Dies Irae 2- --- p.24<br>Chapter (III) --- Offertorio --- p.2-108<br>Chapter (IV) --- Sanctus --- p.2-122<br>Chapter (V) --- Agnus Dei --- p.2-137<br>Chapter (VI) --- Libera Me --- p.2-147<br>Chapter 3 --- Dream - Ballet Suite --- p.3-i<br>"Instrumentation, Note & Direction" --- p.3-ii<br>Chapter (I) --- Allemande --- p.3-1<br>Chapter (II) --- Air --- p.3-6<br>Chapter (III) --- Gigue --- p.3-11
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"A portfolio of music compositions." Thesis, 2004. http://library.cuhk.edu.hk/record=b6073653.
Full textAbstract:
Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra.<br>Yang Jin Fong.<br>"June 2004."<br>Thesis (D.Mus.)--Chinese University of Hong Kong, 2004.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Abstracts in English and Chinese.
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Muyco, Maria Christine. "Compositions." Thesis, 1998. http://hdl.handle.net/2429/7965.
Full textAbstract:
The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig,
and Talibun-ag.
"Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the
instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and
rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in
essence, a destination of one's life journey.
"Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition
revolving around a hextatonic scale which goes through a process of change as the music progresses.
The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her
sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which
means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she
frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials
common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections
(ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic
scale is the composer's own material injected to some pre-formed structure already existing as in the
mentioned ballad.
"Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during
a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot,
tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note
that the recording provided with this thesis is simply a reading session of the piece).
"Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if
combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto
flute and percussions), a mono-dramatist and a choral quartet.
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"A portfolio of music compositions." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075468.
Full textAbstract:
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.<br>Tam, Chin Fai.<br>Thesis (D.Mus.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 391-392).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract also in Chinese; includes in Chinese.