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Relevant bibliographies by topics / Crumb, George. – Chamber music / Dissertations / Theses

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Dissertations / Theses on the topic 'Crumb, George. – Chamber music'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

LedBetter, Robert B. "An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960-1980 with Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278604/.

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In this study, the unique style of percussion writing in the chamber works of George Crumb, written between 1960 and 1980, is examined. The principal aspects examined within this study include: the extended instrumental techniques, the use of percussion within the musical imagery, soloistic treatment, compositional and notational procedures, and specific performance problems pertaining to the chamber work Songs, Drones, and Refrains of Death.

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2

Krystal, Kuhns R. "Organizational Principles in Two of George Crumb's Chamber Works with Flute: Madrigals, Book II and Federico's Little Songs for Children." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1309128280.

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3

Reeder, Douglas Bell. "Symbolism and textual painting in four vocal works by George Crumb /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487942739806089.

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4

Lin, Shuennchin. "The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288715.

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This document is a thorough study of the glissando throughout its chronological development, consisting of an examination of differences in the glissando's functions, types, and executions. Examples are extracted from piano solo and piano concerto compositions, which were written by composers from Domenico Scarlatti, born in 1685, to George Crumb, born in 1929. The glissando was used as a formal compositional device in the eighteenth century, beginning with the works of Domenico Scarlatti. It evolved from the Schleifer and was ornamental and occasionally melodic in function. Composers of the C

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5

MOSELEY, BRIAN CHRISTOPHER. "INTEGRATING ANALYTICAL ELEMENTS THROUGH TRANSPOSITIONAL COMBINATION IN TWO WORKS BY GEORGE CRUMB." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187014156.

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6

Inoguchi, Ikuko. "Concepts of time in the works of John Cage, George Crumb, and Toru Takemitsu and implications for performance." Thesis, City University London, 2016. http://openaccess.city.ac.uk/15041/.

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This study explores concepts of time and temporality in the music of three twentiethcentury composers, John Cage (1912-1922), George Crumb (born 1929), and Tōru Takemitsu (1930-1996). This thesis also examines the role that the performer plays in conveying temporal aspects of body of work. These three composers were interested in nonlinear conceptions of time, which they sought to express in musical terms. I have chosen a selection of works by each composer, which epitomize these conceptions, for in-depth study. I also discuss cultural influences upon conceptions of time, and the meanings of n

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7

Homer, Scott Daniel. "Evoking the Mystery: A Pedagogical Method to Enable an Advanced Violinist to Master George Crumb’s Four Nocturnes (Night Music II)." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801940/.

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For more than three centuries, violin pedagogical practices have been extensively developed towards music covering the common practice period. However, a problem arises when a violin student performing avant-garde music needs to find realistic solutions to problems that are not addressed in the standard repertoire. This critical essay offers a pedagogical approach to a work that fits well within this paradigm: Four Nocturnes (Night Music II), George Crumb’s only published work for violin and piano duo. The multi-dimensional aspect of this avant-garde work requires an equally multi-faceted appr

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8

Hembreiker, Linda-Rose. "Analysis of harp performance issues in Federico's Little Songs for Children by George Crumb." Thesis, connect to online resource. Recital, recorded Mar. 27, 2007, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/permalink/meta-dc-9848.

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9

Wang, Serena. "The Aesthetics of Silence in the Works of Federico Mompou, Chou Wen Chung, and George Crumb." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195060.

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10

Fouse, Kathryn. "Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332492/.

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This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.

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11

Song, Chang-Jin. "Pianism in selected partsong accompaniments and chamber music of the Second New England School (Amy Beach, Arthur Foote, George Whitefield Chadwick, and Horatio Parker), 1880-1930." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1325988.

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Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The stu

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12

Winter, Denis. "The Use of the Tenorhorn and Baryton in the Brass Chamber Music of Oskar Böhme and Victor Ewald: a Lecture Recital, Together with Three Recitals of Selected Works of J. Boda, J. Brahms, G. Jacobs, G. Mahler, T.R. George, J. Castérède, A. Capuzzi and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332434/.

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The tenorhorn and baryton (euphonium), as members of the valved conical brass family, were highly regarded by Oskar Böhme (1870-1938) and Victor Ewald (1860-1935). This study examines the role the tenorhorn and baryton played in selected works by these two composers of the Russian Chamber Brass School. A chronology of the research leading to the discovery and naming of the Russian Chamber Brass School is included as well as a discussion on brass chamber music performance practice both then and now.

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13

Kingan, Michael Gregory. "The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278688/.

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The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.

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14

"Direct quotation in the music of George Crumb." 2005. http://library.cuhk.edu.hk/record=b5892343.

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Wut Tai Ming.<br>Thesis submitted in: December 2004.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references (leaves 75-81).<br>Abstracts in English and Chinese.<br>Abstract --- p.iii<br>List of Examples --- p.iv<br>List of Tables --- p.v<br>Chapter Chapter 1 --- George Crumb's Music --- p.1<br>Chapter Chapter 2 --- Literature critique --- p.4<br>Chapter Chapter 3 --- Crumb's Musical Borrowing --- p.13<br>Chapter Chapter 4 --- "Borrowing of ""Canon""" --- p.17<br>Chapter Chapter 5 --- Borrowing of Hymn Tunes --- p.42<br>Chapter Chapter 6 --- C

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15

Nigro, Christie Blanche. "The chamber music of George Whitefield Chadwick." 1998. https://scholarworks.umass.edu/dissertations/AAI9841902.

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George Whitefield Chadwick (1854-1931) was an American composer of the Second New England School who, along with his contemporaries, gave shape to an "American" musical style. Although his symphonic music and stage works are beginning to be recorded and valued for the integrity of their construction and pioneering spirit they occupy in the history of American music, this is not true of his body of chamber music. While the number of chamber pieces is not large, their quality is high. They are certainly among the best which the New Englanders produced, yet they have been largely ignored. Chadwic

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16

Saccomano, Mark. "Musical Sound and Spatial Perception: How Music Structures Our Sense of Space." Thesis, 2020. https://doi.org/10.7916/d8-y9d1-ae42.

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It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works. In this study, I examine an eclectic selection of compositions to determine how the spaces w

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