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Dissertations / Theses on the topic 'Concertos (Marimba)'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Bodine, Gerald Bradley. "Concerto for Marimba and Orchestra." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186388.

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Concerto for Marimba and Orchestra is a twenty-two minute work cast in a traditional three movement concerto form. The basic harmonic/melodic materials are hexads and complementary hexads built on intervallic projections as propounded in Howard Hanson's Harmonic Materials of Modern Music. The opening movement is in double exposition form with a cadenza before the recapitulation. Marimba techniques used in the opening movement include chromatic thirty-second notes, mirrored octaves and single hand alternate sticking patterns. The form of the second movement is a rondo song form: a- b- a (invers

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2

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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3

Varner, 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/.

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Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth

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4

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

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5

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.

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6

deLise, 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.

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Music Composition<br>Ph.D.<br>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 traditio

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7

deLise, Louis Anthony. "Marimba Rossa [dissertation]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19912.

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Music Composition<br>Ph.D.<br>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 traditio

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8

deLise, Louis Anthony. "Marimba Rossa [score I]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19940.

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Music Composition<br>Ph.D.<br>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 traditio

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9

deLise, Louis Anthony. "Marimba Rossa [score II]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19952.

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Music Composition<br>Ph.D.<br>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 traditio

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10

deLise, Louis Anthony. "Marimba Rossa [score III]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19970.

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Music Composition<br>Ph.D.<br>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 traditio

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11

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/.

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The purpose of this dissertation is to analyze Concerto No.3 "Ave Maria" by Alemdar Karamanov (1934-2007) and to elucidate the work through historical background and the composer's ideas. This concerto is presented as a significant gesture of dramatic emotion, religious belief, romantic spirit and universal feeling. The subtitle "Ave Maria" relates to a set up already present within the music program. An analysis of interval relationships will help performers better realize Karamanov's music language. In view of the complicated nature of this piece, an analytical study is considered necessary.

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12

Sammons, Mike. "A Performance Guide to Áskell Másson's Marimba Concerto." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194541.

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The purpose of this document is to assist in both the performer’s preparation and performance of Áskell Másson’s Marimba Concerto for orchestra through an understanding of the thematic material, which the work is founded. This author believes that an understanding of the formal structure and thematic development of the concerto is essential to realizing a musical performance. Background information on Áskell Másson, including a brief biography and discussion of compositional style and output, are provided to further enhance the understanding and performance of the concerto. Also included is a

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13

Latta, 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.

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ANALYSIS AND INFORMATIVE INTERVIEWS TO AID IN THE PERFORMANCE PRACTICE OF THE CONCERTO FOR MARIMBA AND STRING ORCHESTRA BY ERIC EWAZENThe research found in this document will assist in a performer's preparation of Dr. Eric Ewazen's Concerto for Marimba and String Orchestra. In order to give an informed performance of the work, it is this author's belief that an understanding of the collaboration between the composer and the premiering artist, Ms. She-e Wu, as well as the impact Ms. Wu's artistry had on Dr. Ewazen is paramount. Also, knowledge of Dr. Ewazen's compositional style, reference to

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14

Murray, 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.

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15

Yang, 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.

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Thesis (D.M.A.)--University of North Texas, 2008.<br>System 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).

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16

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.

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Through successful personal training, verified assessments, and professional applications, a musician can establish a personal career as a performing artist. This study seeks not only to explore the ways in which musicians can better their own musicianship, but to how they can inspire and empower others through philanthropic applications of their art. A musician’s laboratory exists both in the practice room and on the concert stage. Therefore, for twelve months, the author sought out the most diverse research and performance opportunities, including performances as a featured soloist in

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17

Chen, 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.

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18

Foster, 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.

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Thesis (D.M.A.)--University of North Texas, 2007.<br>System 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).

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19

Rowson, William. "Concerto for Marimba Quartet and Orchestra." 2012. http://hdl.handle.net/1807/32876.

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My Concerto for Marimba Quartet and Orchestra is designed to be a showcase for marimba ensemble, within the context of a traditional orchestral concerto. It is comprised of three movements. The language of the concerto is at times pluralistic, and at other times homogeneous. The music plays with repetition, simplicity, variability and persistence. The three movements that comprise this concerto are each designed to capitalize on the unique sound of the marimbas in combination with other instruments. In the first movement a small three-note motive (carefully selected to be easy to play ra

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20

"Concerto for marimba and orchestra no. 2." Thesis, 2009. http://hdl.handle.net/1911/61790.

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This concerto in three movements focuses on advanced marimba techniques. Scored for a chamber orchestra of flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani, solo marimba, and single strings. Inspired by the recent efforts of the Classical Marimba League, this concerto strives to provide a classically driven, tonal addition to the marimba repertoire. The piece explores tonal interplays between F minor, C sharp minor, A minor The first movement, in F minor, opens delicately and is constantly growing to its dramatic conclusion. The second movement answers the first in the opposing

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21

Ozley, Christopher. "Concerto for percussion and wind ensemble." Thesis, 2013. http://hdl.handle.net/2152/23919.

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This thesis is a musical composition featuring solo percussion with wind ensemble. It is in three movements with a cadenza linking the second and third movements. The performance time of this work is approximately 12’ 30”. The work will receive its world premiere in the spring of 2014 by Adam Groh and the Graceland University Symphonic Band.<br>text

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22

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.

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23

Yu, 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.

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碩士<br>國立臺中教育大學<br>音樂學系碩士班<br>102<br>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 o

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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.

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碩士<br>實踐大學<br>音樂學系碩士班<br>100<br>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 mari

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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.

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碩士<br>實踐大學<br>音樂學系碩士班<br>105<br>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

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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.

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CIOU, 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.

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Kung, 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.

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29

Chen, 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.

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30

Berger, Steven. "Compositions [Instrumental music. Selections]." Thesis, 1992. http://hdl.handle.net/2429/2425.

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Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

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LO, 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.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>106<br>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 t

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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.

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33

Huang, 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.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>101<br>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 motivat

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34

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.

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35

Shih, 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.

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碩士<br>國立臺北藝術大學<br>音樂系碩士在職專班音樂專業師資教育組<br>99<br>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

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36

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.

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碩士<br>國立臺北藝術大學<br>音樂系碩士在職專班音樂專業師資教育組<br>105<br>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

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McKittrick, J. Cameron. "Graduate recitals." Thesis, 1994. http://hdl.handle.net/2429/5441.

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The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994.

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Kovarik, Christopher Matthew. "Graduate recital." Thesis, 1995. http://hdl.handle.net/2429/3727.

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The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording.

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Copeland, Warren. "Time for bee: a recital of compositions." Thesis, 1994. http://hdl.handle.net/2429/5123.

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Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so

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