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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 (inversion)- b (inversion)- c- c (retrograde)- b (retrograde-inversion)- a. The marimba plays rolled chords throughout much of the movement. The form of the third movement is a fast sonata-rondo form: a - b - a - development - b - a - coda. The development section of this final movement develops materials from both of the preceding movements and thus creates a cyclic form for the work. Marimba techniques explored in the third movement include dead strokes, octave dead strokes alternating with rolled octaves and, thirty-second note hexad patterns in fast alternation with the orchestra. This movement also contains sections in which the xylophone plays in duet with the marimba. Some of the compositional techniques used in the Concerto for Marimba and Orchestra include rhythmic modulation, augmentation, diminution, ostinato, inversion, retrograde, mirroring, odd meters, fragmentation, parallel motion, contrary motion, African rhythmic structure, harmonization with complementary sets and register sweeps.
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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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 as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.
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 scored for solo viola and
chamber orchestra. A cassette copy of the recital is available with this book.Arts, Faculty of
Music, School of
Graduate
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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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.
Full textAbstract:
Music CompositionPh.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
7
deLise, Louis Anthony. "Marimba Rossa [dissertation]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19912.
Full textAbstract:
Music CompositionPh.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
8
deLise, Louis Anthony. "Marimba Rossa [score I]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19940.
Full textAbstract:
Music CompositionPh.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
9
deLise, Louis Anthony. "Marimba Rossa [score II]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19952.
Full textAbstract:
Music CompositionPh.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
10
deLise, Louis Anthony. "Marimba Rossa [score III]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19970.
Full textAbstract:
Music CompositionPh.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
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. The study centers principally on analysis, with an emphasis on the developments of form, tonality and motives to help performers better understand the work, and how to best approach this concerto.
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 compilation of interviews with the composer, offering insight into Másson’s past, current and future accounts, which is meaningful to the composition and performance of the work itself. Performance suggestions are provided by the author as a medium of interpretation and are related to the thematic structure of the work. As part of this document and for purposes of the accompanying recital, the author has generated a piano reduction of the orchestral score with collaboration from the composer. The piano reduction will also enhance the possibilities of future performances, making it increasingly accessible. The piano reduction of the Marimba Concerto will be published through Editions Bim, also the publisher for the concerto. It is the author’s belief that this document will provide a basis of study for future performers of Áskell Másson’s Marimba Concerto.
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 his other works for percussion, and an understanding of the structure of the work will assist future performers in demonstrating a well-versed and rewarding performance of the piece. This study presents insightful interviews from both the composer and the premiering artist. These interviews offer a wealth of understanding into the composition and performance of the work. The performance practice suggestions offer tools to interpret and prepare the piece. Though the Concerto may be a challenge for many marimbists, this author hopes that future performers find the rewards in this well-constructed and exciting work after reading this document.
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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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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.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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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 Canada and as guest timpanist with the
Moscow Symphony in Russia. The project culminated in a benefit concert titled, …in loving memory,
raising nearly $5,000 for the Alzheimer's Association.
Through personal experiences, the author outlines the solo, small ensemble, and large
ensemble performance opportunities that were pursued in order to improve his own musicianship
and then applied to the performance of the benefit concert. Offering a "look behind the curtain,"
this document will also address the logistical hurdles for tackling a charitable event of this scale.
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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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.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).
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 rapidly with mallets) is translated from the marimbas to the ensemble to create homogenous textures that develop harmonically using pattern and repetition.
The second movement is an exploration of the elasticity of rhythm. It sets the marimbas against still chords in the orchestra. It also employs a heightened level of chromaticism in passages that contrast with diatonic chords that are built from the three- note motive of the first movement. The final movement is an exploration of ensemble virtuosity. Rhythms and harmonic material are passed throughout the soloists and orchestra. This movement is designed to play with repetition and the expectations of a rondo form. Material from the two previous movements is recapped at the end.
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 key of C sharp minor. This movement is built in an arch form and returns to F minor at its climax, from this moment the movement will unfold back into C sharp minor just as it arrived. The final movement is a scherzo in A minor This key choice demonstrates neutrality from the previous opposing keys.
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.text
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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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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.
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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.
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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.
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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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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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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.
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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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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.
Full textAbstract:
碩士國立臺北教育大學
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.
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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 text
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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.
Full textAbstract:
碩士國立臺北藝術大學
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.
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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 textAbstract:
碩士國立臺北藝術大學
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.
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McKittrick, J. Cameron. "Graduate recitals." Thesis, 1994. http://hdl.handle.net/2429/5441.
Full textAbstract:
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.
Full textAbstract:
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.
Full textAbstract:
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 one is forced to “wait” for changes), or the philosophy
behind a given piece is similarly based, but may not be evident in the sounding music. The
studies in the music machine, for example, try to incorporate necessary stage changes
between pieces (and the waiting the audience goes through) into musical events about such
waiting.
A secondary interest concerns the concept of contradiction. The majority of the works are,
for example, based upon high-sounding textures (flute, violin, clarinet, high piano and
mallets, etc). The studies in the music machine attempt to introduce low-sounding textures
as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the
side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction
to the unified high-sounding textures of the majority of the recital.
Individual pieces are similarly based upon concepts of contradiction and waiting. Memory,
as a concept, plays a prominent role in several pieces as well.