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Dissertations / Theses on the topic 'Concerto for Percussion and Small Orchestra'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Smith, Alyssa Gretchen. "An examination of notation in selected repertoire for multiple percussion." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118639448.

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Thesis (D.M.A.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiv, 107 p.; also includes graphics, music. Includes bibliographical references (p. 103-107). Available online via OhioLINK's ETD Center.

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2

Kimbler, Chad. "CONCERTO FOR AMPLIFIED MANDOLIN, STRING ORCHESTRA, AND PERCUSSION." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143068097.

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3

Real, Nicolas. "Concerto No. 1 for Flute, String Orchestra and Percussion." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252765.

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Music Performance
D.M.A.
A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.
Temple University--Theses

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4

Cornelison, Randall. "Bombasticism: Concerto For Four Percussionists and Large Orchestra." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202693.

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The original composition Bombasticism: Concerto for Four Percussion and Large Orchestra seeks to expand percussion ensemble literature, to the extent that the percussion quartet unites with the symphony orchestra in atypical fashion. This percussion quartet explores both expanded instrumentation as well as creates a homogenous new sound that suggests the importance of the percussion instrumentation collectively with wind and string instruments. Bombasticism diverges from traditional concerto by offering differing levels of soloist within the percussion quartet. The different levels of solo performance include; individual soloists in contrast to the percussion quartet, individual soloists layered within the percussion quartet in contrast to the orchestra, and the percussion quartet acting as a collective soloist in contrast to the full symphony orchestra. The percussion voice in Bombasticism shows wide variety not only as a rhythmic machine, but also plays an important melodic and harmonic role through the composition. Throughout the work, the percussion family contributes a complete array of sound to the composition in every aspect of musical language. Bombasticism is written in three movements. Each movement differs from the next in instrumentation, tempo, rhythmic intent, and pitch centers. The first movement, Skins, spotlight percussion instruments with drum heads. The timpani and roto-tom soloists will perform on pitched instruments, and the snare drum and bass drum soloists will perform on non-pitched instruments during the movement. Along with this instrumentation awareness, the primary compositional focus is rhythm. The second movement, Metal & Wood, utilizes percussion instruments that are made of metal or wood only. Pitched instruments include marimba, xylophone, glockenspiel, vibraphone, and chimes. Nonpitched instruments involved are woodblock, anvil, cymbals, and hi-hat. The primary focus of this movement is the exploration of various approaches to tonality. The third movement, Tutti Causatum, incorporates all the percussion instruments used in the first two movements. This movement is the most rhythmically active, as most of the movement is based on the groupings of two, three, and four sixteenth notes. Tutti Causatum is the final telling of how Bombasticism mingles all the timbres of the percussion family to create a balance and unity within the orchestra.

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5

Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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6

Hart, Shawn Michael. "An analysis of Joseph Schwantner's Concerto for percussion and orchestra." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9772.

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7

Puckett, James L. "Part I: Concerto for Percussion Quartet and Wind EnsemblePart II: The Compositional Technique of Joseph Schwantner as presented in LUMINOSITY "Concerto for Wind Orchestra"." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1554805885529634.

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8

Chen, Yunfeng. "Lou Harrison's Organ concerto with percussion orchestra : the fusion of Asian musical rhetoric with the western world's oldest musical instrument /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11440.

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9

Zator, Brian Edward. "A comparative analysis of Minoru Miki's Time for marimba and Concerto for marimba and orchestra." Thesis, connect to online resource. Recital, recorded Apr. 17, 2006, in digital collections. Access restricted to the University of North Texas campus, 2008. http://digital.library.unt.edu/permalink/meta-dc-9716.

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10

Barnes, Austin Lee. "Analysis of selected percussion literature: Concerto for vibraphone and orchestra by Ney Rosauro, Surface tension by Dave Hollinden, Urban sketches for percussion trio by Lon W. Chaffin, Take five by Paul Desmond, and DT supreme by Austin Barnes." Kansas State University, 2012. http://hdl.handle.net/2097/14141.

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Master of Music
Department of Music
Kurt Gartner
This is a report for anyone playing or teaching any one of the following pieces: Concerto for Vibraphone and Orchestra by Ney Rosauro, Surface Tension by Dave Hollinden, Urban Sketches for Percussion Trio by Lon W. Chaffin, Take Five by Paul Desmond, or DT Supreme by Austin Barnes. The repertoire is analyzed by the method given in Jan Larue’s book Guidelines for Style and Analysis. The report includes interpretive decisions, technical considerations, harmonic analysis, and form.

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11

Binkley, Linda. "Three versions of the Concerto for Oboe and Small Orchestra (1945-1946, revised 1948) by Richard Strauss: An analytical and historical study for the performer." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/279996.

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Richard Strauss's Concerto for Oboe and Small Orchestra (1945-46, revised 1948) is one of the most challenging works in the oboist's repertoire. It requires a high level of musical artistry, great technical command of the instrument, and disciplined use of breath control in order to achieve a successful performance. The intent of this study is to provide all oboists, from the student encountering Strauss's Oboe Concerto for the first time to the seasoned professional looking for new inspiration, with concise and relevant information that will enrich his or her experience in rehearsing and performing the work. Historical details are briefly discussed, including the meeting between John de Lancie and Richard Strauss that resulted in the writing of the oboe concerto. A comparison between the first (1946) and second (1948) printings of the work, including a comparative analysis of the different endings, and a thorough discussion of their revisions done by John de Lancie (1987) offers further insight into various stylistic concerns inherent to the performance of the work. Finally, a comprehensive study of the endurance issues, orchestration, related stylistic aspects, and harmonic analysis designed for performers concludes the study.

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12

Curcin, Katarina. "Double concerto for violin, percussion and orchestra." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=510529&T=F.

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13

HUANG, HAO-HSUAN, and 黃浩軒. "Concerto for Clarinet and String Orchestra with Harp and Percussion." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/27673308742172686744.

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14

Pan, Fang-Chuan, and 潘芳荃. "A Study of ＜Concerto for Solo Percussion and Chamber Orchestra＞by Richard Rodney Bennet." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/73702154325857649783.

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15

CHIU, WEN-HSIN, and 邱文心. "The Analysis and Interpretation of “Concerto for Solo Percussion and Chinese Orchestra” by Yiu-Kwong Chung." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/kfd65m.

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碩士
國立臺南藝術大學
中國音樂學系碩士班
103
“Concerto for Solo Percussion and Chinese Orchestra” is composed by Yiu-Kwong Chung for the opening concert in Taipei Deaflympics in 2009. The music composition was inspired by three poems ‘The Moon’s Lament’, ‘I Believe’ and ‘Heading For’ which are written by Ching Huang. The solo percussion instrument was customized and designed for Evelyn Glennie. This piece of music combines Chinese orchestra, Western percussion instruments and Literature. The fusion of Eastern culture and Western culture initiates the following discussions. This thesis discusses “Concerto for Solo Percussion and Chinese Orchestra” by individually reviewing and analyzing three movements in the music composition. This article is divided into five chapters to address the research from different aspects. Hope this paper not only will contribute to percussion-related research, but also offering the readers an opportunity of having a better understanding to this piece of music while playing or listening to it.

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16

Chen, Pin-Hui, and 陳品卉. "Performance Interpretations of Richard Strauss''s Concerto for Oboe and small Orchestra." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/5wng7k.

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17

Esanu, Corneliu. "Spring, summer, autumn : concerto for a solo group of wind instruments, piano, harp, percussion, and string orchestra (Original composition) /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442474&T=F.

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18

Siegel, Merrie R. "Samuel Zyman's Concerto for Flute and Small Orchestra and Sonata for Flute and Piano." Thesis, 2000. http://hdl.handle.net/1911/19556.

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The compositional style of Samuel Zyman's two flute works, Concerto for Flute and Small Orchestra and Sonata for Flute and Piano , is examined through formal and stylistic analyses, as well as interviews with the composer and with the flutist who commissioned both works, Marisa Canales. The two Neo-Romantic works make use of clear formal structures, such as sonata allegro and rondo forms. These traditional structures are greatly expanded, mainly through the use of highly active and extended development sections. Rhythmic drive is an essential element of both of these works. These aspects, along with highly contrapuntal writing, cyclical elements, and the expansive use of melody allow for two very cohesive but complex works. Modal inflection also adds a very original and interesting musical flavor to the works.

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19

Mountain, Rosemary. "An investigation of periodicity in music, with reference to three twentieth-century compositions: Bartok's Music for trings, percussion & celesta, Lutoslawski's Concerto for orchestra, Ligeti's Chamber concerto." Thesis, 1993. https://dspace.library.uvic.ca//handle/1828/9666.

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An investigation into the nature and functions of periodicity is presented through analysis and discussion. Periodicity is established by the repetition of any musical event at regular intervals in time. The three works analyzed exhibit periodic elements in a variety of contexts and on different structural levels, thereby illustrating typical functions of periodicities in complex twentieth-century music. These functions include stratum delineation, textural definition, and metric-style organization. In some cases, the regularity of the periodicities is crucial to their function, while in others the periodicity of the elements simply provides a convenient model for study. Reference is made to perceptual tendencies and thresholds including Gestalt principles of grouping, the phenomena of auditory streaming and fusion, and the temporal limits of the perceptual present. As our response to periodicities is affected by the specific rate of recurrence, a classification is made according to the rate of recurrence. The links between rate and function are discussed. Boundaries are suggested for three main divisions: very fast rates (less than 0.10"), medium (between 0.10" and 10"), and long (greater than 10"). An additional tripartite division of the medium range is proposed, incorporating the levels of pulse, sub-pulse, and super-pulse. The term "super-pulse" is introduced to emphasize the potency of the pulse-grouping level. Relationships between levels of periodic events are described in terms of rhythmic consonance and dissonance. The analyses show that a contrast in the degree of rhythmic consonance is a typical means of indicating structural boundaries. They also suggest a link between the levels which produce a dissonance and the degree of harshness felt. Consonance on several levels adds significant coherence to a stratum, enhancing its recognition in complex textures or on later appearances.
Graduate

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20

Lien, Pin-Yu, and 連品瑜. "The Analysis and Interpretation of Concerto for Oboe and Small Orchestra by Bohuslav Martinu(1890-1959)/Lien,Pin-Yu Oboe Recital." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/78175348836919933112.

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碩士
東吳大學
音樂學系
94
The purpose of this thesis is to display an in-depth research on the exclusive Oboe Concerto by Bohuslav Martinu(1890-1959). Four chapters are included in this research. The four sections are Introduction to Martinu's Oboe Concerto, Introduction to the Composer and the Musician of its debut, Analysis of the Oboe Concerto, and Musical Articulation of the Oboe Concerto. The author thinks the reason why Bohuslav Martinu's Oboe Concerto is so well-received by oboist is that the music alone tantalizes musicians with the tune filled with affection and vitality, the rhythm so energetic, and the abundant variations in instrumental coordination. Although the research documents of Bohuslav Marinu's Oboe Concerto are scarce, the author analyzes the existing information to understand the composer, the distinctiveness of musical piece and its contribution to the classical music world. Furthermore, the author's delicate integration of the elements in the historical background in the creation of the musical piece, the structure of the concerto, and the display of music gives people a whole new perspective to Bohuslav's Oboe Concerto. From this research, the author hopes to give the general audience new outlooks on the concerto which further help readers to discover the true spirit of the musical piece and thus form a deeper appreciation.

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