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Dissertations / Theses on the topic 'Concertos (Violin with string orchestra)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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2

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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3

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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4

Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.

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Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.

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5

Widstrand, Alex Christopher. "Lev Konstantinovich Knipper's concerto for bassoon and string orchestra: introduction and critical performing edition." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6338.

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Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In ord

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6

Platt, Jessica K. "A methodology of study for Samuel Barber's Concerto for violin and orchestra op. 14." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1467040.

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In this study the author develops a methodology for the study of the Samuel Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic components of the work, presenting important pedagogical principles, and offering an array of performance practice techniques. The primary tool used to formulate the methodology was a survey of exceptional violinists and pedagogues. Twenty-six professional violinists responded to a survey that asked their suggestions for preparing and performing five specific excerpts from the Concerto. The compilation of the responses provides an invaluable g

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7

Reed, Marc Allen. "An historical and stylistic examination of Charles Chaynes' Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3924/.

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Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconc

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8

Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.

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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neith

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9

Hong, Dayeon. "The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505269/.

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This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love

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10

Lewis, Lucy Karelyn. "A model for developing a holistic collegiate curriculum for string performance and pedagogy." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638399.

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<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of wheth

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11

Costa, Anthony J. "A bibliography of chamber music and double concerti literature for oboe and clarinet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117551575.

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Thesis (Ph.D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center

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12

Manning, Dwight C. (Dwight Carroll). "A Study of the Oboe Concertos of Johann Friedrich Fasch with a Performing Edition of Oboe Concerto in G Major (Küntzel 8) : A Lecture Recital Together with Three Other Recitals of Selected Works of Handel, Mozart, Bellini, Poulenc, Britten and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278576/.

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Johann Friedrich Fasch's music displays a stylistic variability characteristic among some composers of the early eighteenth century, a time in which the mature Baroque style period of Western art music was beginning to show new elements of the Classical style. Opinions regarding Fasch's contribution vary from praise for his role as one of the most important pioneers to simple acknowledgment as merely one among many significant, forward-looking, transitional composers. During the early eighteenth century, a wealth of fine literature for solo oboe was produced. Current oboe repertoire includes m

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13

Martens, Hester Susanna. "Vakdidaktiese beskouing van geselekteerde Suid-Afrikaanse vioolmusiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2525.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical

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14

Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmu

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15

Tartini, Giuseppe 1692-1770. "Six concertos for violin and string orchestra, 1733." 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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16

Burden, Michael. "Six concertos for violin and string orchestra, 1733 Giueseppe Tartini." Thesis, 1987. http://hdl.handle.net/2440/103147.

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17

Hart, Hilary Brain Dennis Conlon Frank Sato Erika Rakers Michelle A. "Dedications for Dennis Brain a musical exploration of his additions to the repertoire of the French horn." 2007. http://hdl.handle.net/1903/9734.

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18

Douglas, David James. "Inquiry into J.S. Bach’s method of reworking in his composition of the concerto for keyboard, flute and violin, BWV 1044, and its chronology." Thesis, 1997. http://hdl.handle.net/2429/6473.

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Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional act

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19

Crane, Emily Hanna Kowalsky Frank Bolcom William. "A performer's approach to William Bolcom's Concerto in D for violin and orchestra." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-04032007-235850/.

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Treatise (D.M.A.) Florida State University, 2007.<br>Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-21-2007). Document formatted into pages; contains 92 pages. Includes biographical sketch. Includes bibliographical references.

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20

Yeo, Lisa Lorraine Gartrell. "Copland’s clarinet concerto : a performance perspective." Thesis, 1996. http://hdl.handle.net/2429/4810.

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Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely r

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21

Jiang, Yuli Baltzer Rebecca A. Gratovich Eugene. "The Chinese violin concerto "The butterfly lovers" by He Zhanhao (1933) and Chen Gang (1935) for violin and orchestra." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3128861.

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22

Davis, Rachelle Marie Gratovich Eugene Buhler James. "Walter Piston's Concerto no. 1 for violin and orchestra thematic and motivic transformation, style, and violinistic issues /." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3127083.

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23

Davis, Rachelle Marie. "Walter Piston's Concerto no. 1 for violin and orchestra: thematic and motivic transformation, style, and violinistic issues." Thesis, 2004. http://hdl.handle.net/2152/1139.

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24

Davis, Rachelle Marie 1972. "Walter Piston's Concerto no. 1 for violin and orchestra : thematic and motivic transformation, style, and violinistic issues." 2004. http://hdl.handle.net/2152/12946.

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25

Jiang, Yuli. "The Chinese violin concerto "The butterfly lovers" by He Zhanhao (1933) and Chen Gang (1935) for violin and orchestra." 2004. http://hdl.handle.net/2152/12694.

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26

"Instrumental Vibrato: An Annotated Bibliography of Historical Writings Before 1940." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14581.

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abstract: The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this stud

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27

Crawford, Heather A. "Joan Tower's Violin concerto an organic approach to composition /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075612.

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28

Lockard, Douglas Todd 1965. "A stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet." 2001. http://hdl.handle.net/2152/11341.

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29

Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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30

Cawrse, Anne Rebecca Goldsworthy Peter Rossetti Christina Georgina. "Portfolio of original compositions and exegesis a personal exploration of modal processes /." 2007. http://digital.library.adelaide.edu.au/dspace/handle/2440/49470.

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31

Cawrse, Anne Rebecca. "Portfolio of original compositions and exegesis: a personal exploration of modal processes." Thesis, 2008. http://hdl.handle.net/2440/49470.

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This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also c

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32

Cawrse, Anne Rebecca. "Portfolio of original compositions and exegesis: a personal exploration of modal processes." 2008. http://hdl.handle.net/2440/49470.

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This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also c

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33

"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Vo

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