Dissertations / Theses on the topic 'Concertos (Marimba)'
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Bodine, Gerald Bradley. "Concerto for Marimba and Orchestra." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186388.
Full textZator, 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.
Full textVarner, Michael L. "An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2262/.
Full textEstacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.
Full textArts, Faculty of
Music, School of
Graduate
Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.
Full textdeLise, Louis Anthony. "Marimba Rossa for marimba and orchestra [front for score matter]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19916.
Full textPh.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
deLise, Louis Anthony. "Marimba Rossa [dissertation]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19912.
Full textPh.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese
Temple University--Theses
deLise, Louis Anthony. "Marimba Rossa [score I]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19940.
Full textPh.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
deLise, Louis Anthony. "Marimba Rossa [score II]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19952.
Full textPh.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
deLise, Louis Anthony. "Marimba Rossa [score III]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19970.
Full textPh.D.
ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa. The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa.
Temple University--Theses
Yang, Christine. "An Analytical Study of Karamanov's Piano Concerto No.3 "Ave Maria"." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6036/.
Full textSammons, Mike. "A Performance Guide to Áskell Másson's Marimba Concerto." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194541.
Full textLatta, Jonathan Ryan. "Analysis and Informative Interviews to Aid in the Performance Practice of the Concerto for Marimba and String Orchestra by Eric Ewazen." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193767.
Full textMurray, Lauren Baker. "The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance Guides." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/murray%5Flauren%5Fbaker/index.htm.
Full textYang, Shu-Yuan. "An analytical study of Karamanov's Piano concerto no. 3 Ave Maria /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6036.
Full textSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Feb. 16, 2004, Mar. 27, 2005, June 17, 2006, and Jan. 28, 2008. Includes bibliographical references (p. 77-78).
Barroero, Trevor, and Trevor Barroero. "The Art of Performance: On Stage and Behind the Curtain." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/624910.
Full textChen, Wen-Mi. "An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363864.
Full textFoster, Christopher C. "An examination of music for trumpet and marimba and the Wilder Duo with analyses of three selected works by Gordon Stout, Paul Turok, and Alec Wilder." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5182.
Full textSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 21, 2004, June 13, 2005, Mar. 27, 2006, and Sept. 21, 2007. Includes bibliographical references (p. 141-143).
Rowson, William. "Concerto for Marimba Quartet and Orchestra." 2012. http://hdl.handle.net/1807/32876.
Full text"Concerto for marimba and orchestra no. 2." Thesis, 2009. http://hdl.handle.net/1911/61790.
Full textOzley, Christopher. "Concerto for percussion and wind ensemble." Thesis, 2013. http://hdl.handle.net/2152/23919.
Full texttext
Lin, Hao-Po, and 林浩伯. "The Analysis and Interpretation of 《Marimba Concerto》by Pius Cheung." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/v4g34g.
Full textYu, Ying-Syuan, and 余盈萱. "The Analysis and Interpretation of Emmanuel Séjourné’s《Concerto for Marimba and Strings》." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/n379es.
Full text國立臺中教育大學
音樂學系碩士班
102
The research is going to elaborate on French composer, Emmanuel Séjourné's work, 《Concerto for Marimba and Strings》 by the analysis of the composition and the discussion of his artistic technique. Through the elaboration, we can understand the evolution of Marimba's history and the background of the composer. This dissertation is divided into the following five chapters. Chapter one, "Introduction" includes the motivation and objective of the research, research scope and research methods and the procedures. Chapter two, "The Formation and Development of Marimba" integrates the origin and evolution of Marimba's history in the different periods. Besides, it introduces the works directed towards the concerto for Marimba. Chapter three, "Emmanuel Séjourné" and chapter four, "Structural Analysis and the Interpretation of the Performance of 《Concerto for Marimba and Strings》 introduce the composer and his work for Percussion and have the discussion aimed at this concerto respectively. Furthermore, I proposed the suggestions and ideas for the performances from my personal performing experiences. Chapter five, "Conclusion" summarizes the preceding chapters and it is also a generalization according to the procedure of the research. Hope this research can help the performers to get the profits of 《Concerto for Marimba and Strings》 by Emmanuel Séjourné in the future.
Hsu, Ching-Chi, and 許靖婍. "The Analysis and Research of Eric Ewazen’s《Concerto for Marimba and String Orchestra》." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/58622169236442010872.
Full text實踐大學
音樂學系碩士班
100
The xylophone is an ancient musical instrument. However, it appeared very late in western musical instrument history. The marimba is also a type of xylophone which appeared even later. The first marimba concerto was composed by Paul Creston (1906-1985) in 1940. Due to more and more popularity on the percussion learning market, more and more composers started to write for percussion instruments. This created a great number of percussion instrument appreciators. The first marimba concerto was created seventy years ago. Since then more than two hundred marimba concertos have been composed. This condition shows that the marimba became more and more important. This thesis discusses the evolution of the xylophone, a brief history of marimba concertos, and introduces different kinds of marimbas. Finally, in conclusion, detailed musical analysis and composing technique research focuses on Eric Ewazen’s composition - Concerto for Marimba and String Orchestra.
Cheng, Hao, and 鄭皓. "The Analysis and Research of 《Marimba Concerto No.1》by Chin-Cheng Lin." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/ue996v.
Full text實踐大學
音樂學系碩士班
105
Chin-Cheng Lin (1984-) is a Taiwanese marimba virtuoso and a composer, currently living in Belgium Andhra Antwerp (Antwerp). Through his junior high and senior high school, Chin-Cheng Lin specialized in playing the violin and then he switched to percussion in his senior year. Before finishing his high school education in Taiwan, he moved to Australia to finish his studies. He is a musician born in Taiwan, nurtured by it’s culture and affected by Australia’s music education. There are four chapters in this paper. The first chapter is the "Introduction", which includes the motivation for study, the purpose and the study methods. The second chapter is "The biography and composing background". In addition to Chin-Cheng Lin’s life, the composing background of his Marimba Concerto No.1 is explored here. The third chapter is "The song analysis and discussion of the music performance of the Marimba Concerto No.1 "The fourth chapter "Conclusion" presents a conclusion and summary of the study. All information besides related books and studies, is based on Chin-Cheng Lin’s personal website and the email exchanges between Lin and the writer.
CHIA-YU, LIU﹐, and 劉家妤. "The Analysis and Interpretation of 《Marimba Concerto No.1》by Chin Cheng Lin." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bmququ.
Full textCIOU, ROU-JYUN, and 邱柔駿. "The Analysis and Interpretation of《Concerto for Marimba and Strings》by Emmanuel Séjourné." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/sgv575.
Full textKung, Yu-Tzu, and 孔裕慈. "The Interpretation and Analysis of《Djinn》Concerto for Solo Marimba & Chamber Ensemble by John Psathas." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/66654418200438353685.
Full textChen, Ching-Chi, and 陳景琪. "The Analysis and Interpretation of Marimba Concerto No.5《The Tale of the Bamboo Cutter》For Marimba solo&Chamber Orchestra by Chin-Cheng Lin." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/61126320225899478701.
Full textBerger, Steven. "Compositions [Instrumental music. Selections]." Thesis, 1992. http://hdl.handle.net/2429/2425.
Full textLO, YU-TING, and 羅友廷. "The Analysis and Interpretation of 《Clarinet Concerto No. 2 in E-flat major, Op. 74》 by Carl Maria von Weber." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/u4qp4q.
Full text國立臺北教育大學
音樂學系碩士班
106
Carl Maria von Weber(1786-1826)was a pioneer of German Romanticism music in the nineteenth century. In 1811, he composed Clarinet Concerto No. 2 in E-flat major,Op. 74, because of his friendship with clarinetist Heinrich Bärmann (1784-1847). Weber used musical style of the Polacca and strong operatic style in this clarinet work.The author will conduct an in-depth study of the composer and the clarinet concerto;also will provide an accurate analysis of the musical style and form. Hopefully this thesis will help and provide some references for each reader in the future. The thesis was divided into five chapters. Chapter 1 is an introduction, including the motivation and purpose of the research method and literature review. Chapter 2 is the composer biography and the composition background, including Weber and Heinrich Bärmann’s biographies and the composition background. Chapter 3 is musical analysis, including a focused analysis of the musical form, harmonic progression, tonality, theme and motive from each movement. Chapter 4 is performance interpretation, a performers’ knowledge of dynamics, tempo and expression marks is paramount to the interpretation of this concerto. Chapter 5 is the conclusion, a summary of the previous four chapters and the conclusion of this thesis.
Chang, Chin-yi, and 張晴怡. "The Analysis and Interpretation of Carl Maria von Weber’s《Concerto No.1 in f minor, Op.73, for Clarinet and Orchestra》." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/99060952071649054678.
Full textHuang, Jing-Wen, and 黃靖雯. "The Analysis and Interpretations of Carl Maria von Weber’s《Concerto No.2 in bE major, Op.74, for Clarinet and Orchestra》." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/09517128791401587895.
Full text國立臺北教育大學
音樂學系碩士班
101
This thesis mainly discussed the Clarinet Concerto《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》accomplished by Carl Maria von Weber(1786-1826), the pioneer of German Opera, in 1811. Clarinet is Weber’s favorite instrument because its tone can be changed dramatically. Hence, Weber can deftly apply the skills used in opera on clarinet works, so that the magnificent periods and strong rhythmic music style can be presented in this composition. The thesis is organized as following. Chapter 1 is an introduction, including the research motivation, scope, method, and literature reviews. Then I introduced Weber’s biography, his music style and influence in Chapter 2. Chapter 3 describes how Weber wrote《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》. In this chapter, we talked about the background of composition creation and the biography of Heinrich Joseph Baermann (1784-1847), a performer whose fantastic performance influenced Weber’s creation and inspired him to compose clarinet works The analysis of music form and the composition performance interpretation of《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》are further discussed in Chapter 4 and 5. The conclusion is placed in Chapter 6. By the comprehensive study of 《Concerto No.2 in E flat major for Clarinet and Orchestra, Op.74》, I hope that I can understand more about how and why Weber wrote those great works. Furthermore, I expect myself to learn from this research and have an appropriate expression in performance.
Liu, Yueh-Feng, and 劉悅楓. "The Analysis and Interpretation of Concerto No.1 in f minor for Clarinet and Orchestra, Op.73 by Carl Maria von Weber." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/s4xr4z.
Full textShih, Cian-Siou, and 施芊秀. "Discussions of Basic Techniques Applied in Clarinet Pieces-Carl Maria von Weber Clarinet Concerto No.2 in Eb Major, Op.74 and Cyrille Rose Studies." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/tbg7wp.
Full text國立臺北藝術大學
音樂系碩士在職專班音樂專業師資教育組
99
This thesis focuses on basic techniques applied in Clarinet pieces, and provides studies which are corresponding to the basic techniques. Chapter one states the research motive and the purpose as well as the research range and method. Chapter two, the development of clarinet and the introduction of composers, introduces the origin and the development of clarinet, and the composers, Cyrille Rose and Carl Maria von Weber. Chapter three stresses on the virtuosity of finger from the aspects of scales and arpeggio. Chapter four discusses the methods of tonguing-single tonguing and staccato-from the prospects of tongue, breath, throat, and mouth type. Chapter five emphasizes on dynamics and presents that the tolerance, aspirated speed, and belly support are tied to relaxing with the thorax. Chapter six points out that the leaps of the intervals greatly challenge the performer. Chapter seven studies cadenza and gives Weber’s Clarinet Concerto No. 2 in E-flat Major and Rose’s studies as examples. Chapter eight concludes this thesis with the discussion of the references and the chapters above.
Lin, Tzu-Yin, and 林姿吟. "A Discussion on Practice and Application of Basic Clarinet Skill - Case Cyrille Rose Studies for Clarinet and Carl Maria von Weber Concerto for Clarinet and Orchestra Op. 73, No. 1." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/ey7r7s.
Full text國立臺北藝術大學
音樂系碩士在職專班音樂專業師資教育組
105
This research based on my own teaching experience and learning process discusses the practice and application of basic clarinet skills. This is a comprehensive analysis and discussion according to the problems occurred during teaching, observation of students'' learning process and relevant references. Cyrille Rose was the famous clarinetist and educator in the 19th century in France. One of his great contributions in teaching wasthose Clarinet Etudes, including basic skills applied for all kinds of music, which were essential etudes to learn how to play clarinet. This study would take “40 Studies for Clarinet” and “32 Studies for Clarinet” to discuss the practices of basic clarinet skills. Carl Maria von Weber was a significant German composer of the Romantic school, who had outstanding performances both in opera and instrumental works. In 1811, Weber as a contemporary clarinetist wrote several classic compositions of the clarinet for his friendBaermann, “Clarinet Concerto No.1 in F minor, Op.73” was one of those. This concerto has been very popular for fully demonstrating the characteristics of the clarinet. Not only has it been performed frequently in the concerts, but also recorded constantly by famous musicians. Many instructors usually take it as the teaching materials. Therefore, I will discuss the application of basic clarinet skills based on this concerto.
McKittrick, J. Cameron. "Graduate recitals." Thesis, 1994. http://hdl.handle.net/2429/5441.
Full textKovarik, Christopher Matthew. "Graduate recital." Thesis, 1995. http://hdl.handle.net/2429/3727.
Full textCopeland, Warren. "Time for bee: a recital of compositions." Thesis, 1994. http://hdl.handle.net/2429/5123.
Full text