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Dissertations / Theses on the topic 'Extended techniques in music'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Ohara, Yuko. "New sounds and extended composition techniques." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7674.

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This commentary supports my PhD composition portfolio. The composition processes of each piece are related to my central research questions, which concern the creation of new sounds using overtone-based scales and extended instrumental techniques. I have developed four main conceptual composition themes and these are represented in the thirteen compositions in the portfolio. In this commentary I consider how each composition was developed around these conceptual themes.

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2

Cherry, Amy Kristine. "Extended Techniques in Trumpet Performance and Pedagogy." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242326372.

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3

Petterson, Jill. "Extended flute techniques in three culturally different solo flute pieces." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12652.

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Includes bibliographical references.<br>Extended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.

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4

Proulx, Jean-François. "A Pedagogical Guide to Extended Piano Techniques." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38213.

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Music Performance<br>D.M.A.<br>Extended piano techniques, which mainly involve playing directly on the internal components of the piano, emerged early in the twentieth century, mainly in the United States. Henry Cowell (1897-1965) explored some of these techniques in short piano pieces such as The Tides of Manaunaun (1917; clusters) The Banshee (1925; glissando, pizzicato) and Sinister Resonance (1930; mute, harmonic). Several contemporary composers followed this path. Notably, George Crumb's (b. 1929) mature works combine conventional techniques with an unprecedented variety of extended techn

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5

Everall, Philip. "A digital resource for navigating extended techniques on bass clarinet." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1940.

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Extended techniques are integral to the creation and interpretation of works for the bass clarinet. Effects such as multiphonics, microtones, or percussive and air sounds, have become commonplace in repertoire from the twentieth and twenty-first centuries. This PhD dissertation posits that the bass clarinet’s affinity for these sounds can be traced back to the instrument’s earliest uses, and thus extended techniques should be central to the understanding of the bass clarinet. While there is a large knowledge-base of these techniques, the paradigm of print resources with accompanying music medi

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6

Dimpker, Christian. "Extended notation : the depiction of the unconventional." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/3184.

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Most extended instrumental playing techniques are still deprived of a conventional method of notation. In order to facilitate the utilisation of these unconventional musical elements, a coherent and consistent notation system is developed in this thesis. It comprises chapters on string instruments, wind instruments, percussion instruments, plucked instruments and keyboard instruments. A systematic notation of unconventional instrumental playing techniques has not yet been attempted, nor have all tech-niques subject to this work yet been explained in detail. In order to coherently depict unconv

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7

Lunn, Robert Allan. "Extended Techniques for the Classical Guitar: A Guide for Composers." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274474311.

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8

Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

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9

Cannon, Joanne. "Playable ambisonic spatial motion : music performance techniques and mappings for the extended bassoon /." Connect thesis, 2009. http://repository.unimelb.edu.au/10187/7120.

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This research dissertation presents work undertaken to develop new performance techniques and mappings for the expressive control of spatial motion using Ambisonic projection. The dissertation reviews relevant research from the fields of Spatial Sound and Extended Instruments, and establishes playability as a useful set of criteria for a reflexive project methodology and evaluation. This reflexive research systematically investigates Trevor Wishart’s taxonomy of spatial motions through the development of new hardware, software, performance techniques and spatial motion analysis.

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10

Danard, Rebecca J. "Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321368757.

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11

Meador, Rebecca Rae. "A History of Extended Flute Techniques and an Examination of Their Potential as a Teaching Tool." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991163381.

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12

Patterson, Stephanie Willow. "An approach to contemporary music pedagogy for beginning and intermediate level bassoonists, including sixty-four original etudes." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5038.

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As composers continue to explore new horizons of classical music, performers are asked to stretch and explore their abilities as well. However, there is little pedagogical material that prepares students to learn the style and structure of this contemporary music. Many students primarily study etudes written in the style of pre-1900 music, leaving them without the tools to learn most music written since 1900. The pedagogical literature that does include music from the twentieth century is often very advanced, and lacks an introduction for younger students. This thesis includes a method of teac

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13

Alveteg, Ellen. "Dra stråken till sin spets : En undersökning av extended techniques för viola genom instudering av Viola Spaces av Garth Knox." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69373.

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Efter att ha gått en kurs i fri improvisation där jag fick utforska min violas möjligheter till att producera ljud, väcktes en nyfikenhet hos mig kring utökade speltekniker som kan förekomma i nutida konstmusik, så kallade extended techniques. Jag fick tips om etydsamlingen Viola Spaces av Garth Knox där olika extended techniques presenteras och bestämde mig för att studera in fyra av dem. De etyderna jag valde behandlar olika stråktekniker, nämligen sul ponticello, sul tasto, tremolo och olika sätt att dra stråken på. Under arbetets gång redogör jag för de svårigheter jag stötte på under min

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14

Penny, Margaret Jean. "The Extended Flautist: Techniques, Technologies and Performer Perceptions in Music for Flute and Electronics." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/366551.

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As musical and performance practices have evolved over the last half-century, the realm of the solo flautist has expanded to encompass an extensive array of emerging techniques and technologies. This research examines the impact of electronics on the flautist. It explores and confronts this expanding musicological nexus through forwarding the voice of the performer: defining the search for knowledge through the actuality of performance, reflection and narrative. The investigation is based around two recitals of music for flute with electronics, incorporating ideas of spatialisation and interac

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15

Marinello, Pollard Amy. "Solving the “Problems” of Extended Techniques: Annotated Performance Guides to Sofia Gubaidulina’s Bassoon Works." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337263893.

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16

Ziegler, Janet Brehm. "A pedagogical guide for extended and extreme vocal techniques used in contemporary classical vocal music." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6671.

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There are numerous challenges to singing contemporary classical vocal music including a number of harmonic, melodic, rhythmic, and formal elements not commonly seen in the western Classical or Romantic era compositions. There are new notations, new sounds, new ideas, and new demands. Finding a way to train college-aged singers to perform standard classical repertoire alongside contemporary classical repertoire has been a personal goal for many years. This essay contains exercises and vocalises to help train singers to prepare their instrument to perform the demanding music presented in this bo

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17

Botieff, Jane D. "Flute extended techniques| A practice guide and analytical study of "Hatching Aliens" by Ian Clarke." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1592498.

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<p> Extended techniques play an important role in flute repertoire today, as composers continue to explore the possibilities of the instrument in ways not previously done before the mid-twentieth century. Pioneers of flute extended techniques, including Edgard Varèse, Luciano Berio, and Robert Dick, have all played an important role in the progression of flute repertoire leading into the twenty-first century. </p><p> Ian Clarke, a British flutist and composer, uses extended techniques as a vital element in his compositions, and has gained a great deal of attention for his breadth

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18

Figueiredo, Virginia Costa. "Music by contemporary Portuguese composers a study of extended clarinet techniques in selected clarinet works /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835614371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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19

Kennaugh, Adam Kord Kennaugh. "IMPETUS." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522173859721773.

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20

Vishnick, Martin Lawrence. "A survey of extended techniques on the classical six-string guitar with appended studies in new morphological notation." Thesis, City University London, 2014. http://openaccess.city.ac.uk/4164/.

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This dissertation comprises two volumes. Volume 1 presents a critique and exploration of the way extended techniques with particular sound properties are used and notated in the contemporary repertoire for the classical six-string guitar. In Volume 2, a set of practical exercises provide both instrumentalists and composers with a way to perceive, think through, and use a repertory of sounds based on developed and newly invented extended techniques. Volume 1 is divided into three sections. The first section constitutes an extensive survey of the literature, where extended guitar techniques are

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21

Davis, John Edward 1954. "The extended alto flute: The history and development of the alto flute, with a study of modern alto flute design and its effect on extended techniques in alto flute repertoire and pedagogical materials." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288758.

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The purpose of this document is to trace the origin of the modern alto flute from its beginning through Theobald Boehm's design, compare the designs and acoustical qualities of modern alto and c-flutes; identify the various types of extended techniques found in contemporary alto and c-flute repertoire with attention as to how the realizion of these techniques may differ for alto and c-flute; and survey representative works for alto flute that incorporate extended techniques. Chapter I follows the development of larger flutes from examples found in Renaissance-period sources up to the early nin

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22

Smith, Joshua D. "Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9030.

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Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2006, Sept. 25, 2006, Apr. 16, 2007, and May 13, 2008. Includes bibliographical references (p. 63-66).

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23

Beaugeais, Katia. "Dual Role of a Composer-Performer: Creative Collaboration in New Australian Saxophone Music and Large-Scale Works." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24991.

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This PhD thesis examines the dual role of a composer-performer in various creative collaborative contexts. It is presented in two parts: (1) the role of a composer-performer in relation to one’s own compositions, and (2) the role of a composer-performer when performing other composers’ works. Part 1 focuses on how my role as composer-saxophonist influences my compositional writing for saxophone and other instruments. Gestural production through the use of contemporary saxophone playing techniques to form the main motivic framework is discussed in relation to my saxophone concerto, saxophone

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24

Fure, Ashley Rose. "Boundary Notions: A Sonic Art Portfolio." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10962.

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I offer this dissertation as a survey and a story: a survey of my work across the field of sonic art and a story of my progressive compulsion toward sound that conveys touch. This haptic sensibility sharpens from Susurrus (2006) through Soma (2012), manifesting in a fixation on the impact of sound on bodies and the impact of bodies on sound. Both the visceral sensation of hearing and the manner in which movement imprints onto acoustic phenomena concern me. My musical forms are conceived not as abstract arrangements of objects (or notes) but as complex physical confrontations that produce au

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25

Wathen, Chessa Catherine. "Henry Cowell, The Great Experimenter: Uncovering the Catalysts that Generated a Composer’s Ultramodernist Piano Techniques." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/859.

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In the scholarship surrounding piano repertoire, Henry Cowell is seen as a kind of “one-hit-experimental-wonder,” being know mostly for his astonishingly progressive piece The Banshee. However, Cowell was an enigmatic composer, a diverse scholar, an influential proponent new music, as well as a music theorist and comparative musicologist. Therefore in order to gain a more complete understanding of Cowell and his deeply influential piano works, this project seeks to explore the philosophical, cultural, and non- Western musical influences that inspired Cowell’s novel experimentation at the piano

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26

Ginder, Jon. "The Fields We Watched." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459292665.

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27

Ellard, Luke Michael. "Bridging the Gap: Introducing Extended Techniques and Contemporary Notation through Newly Composed Etudes for Clarinet." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703365/.

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This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

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28

Guitry, Amy Beth. "The Baroque flute as a modern voice : extended techniques and their practical integration through performance and improvisation." Thesis, City, University of London, 2010. http://openaccess.city.ac.uk/17424/.

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The baroque, one-keyed flute has, within the last half century, been rediscovered for performance, particularly within early music settings, and more recently has been welcomed into the area of contemporary music. This research continues to widen the boundaries of the modern baroque flute by building on its rich history in both technical aspects and practical performance, and by continuing to expand its musical and technical horizon through the extension of historical ideas and the introduction of new ideas within a contemporary idiom. This document begins with a general description of the ins

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29

Jang, Seon Hee. "Interpretation of Extended Techniques in Unaccompanied flute Works by East-Asian Composers: Isang Yun, Toru Takemitsu, and Kazuo Fukushima." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275917772.

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30

Roiko-Jokela, Miia. "Laconisme de l’aile : Exploring modern flute techniques." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3182.

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This thesis introduces the modern flute techniques used in the solo flute piece Laconisme de l’aile by Kaija Saariaho. The purpose is to find ways to excecute the techniques so that they serve the music in the best way. The techniques are divided in five groups based on how they are excecuted: effects made with the mouth, changing the timbre, multiphonics, effects made by fingers and diffenent sounds by blowing. As an attachment there is a recording of the piece and how the techniques sound in the context. At the end of the process it has been evaluated, if the modern techniques help with the

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31

Morales, Murguía Hugo. "Hacking traditional instruments : approaches to sound-oriented instrumental composition." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/14561.

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Technology plays a vital role in the creation of any form of art. In music this has been dominated by a stationary condition in which contemporary ‘academic music’ (new music created in institutions and descending from traditional European models) is in its majority still generated exclusively by a technology of more than a century ago. Additionally, the totality of sound as musical material is now commonly acknowledged, posing problems about the nature and efficiency of the already existing musical instruments and the development of new ones. The current situation in the creation of contempor

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32

Guebert, Alexander M. "The modern handbell ensemble as an asset to new music| Expanding opportunities in extended technique." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527945.

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<p> The modern handbell ensemble, as a musical instrument, presents unique possibilities to composers. Much of the current handbell ensemble repertoire is intended for church or pedagogical use. However, this instrument features a dazzling array of extended techniques, a kinetic visual quality, and a vast range of pitches, dynamic possibilities, and textures. Therefore, composers should bring the handbell ensemble into the currents of the new music world, a culture that appreciates uniqueness in instruments.</p>

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33

Dierickx, Zachary Daniel Dierickx. "The Clarinet Works of Jörg Widmann: A Performance Guide to Fantasie for Clarinet Solo with a Survey of Unaccompanied Clarinet Repertoire and Guide to Contemporary Techniques." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523963496247166.

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34

Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.

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Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

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35

O'Dell, Adam David. "Hypoxia." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1490629987974442.

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36

Mendes, Diogo António Tavares Magro. "Obras para clarinete solo produzidas por compositores portugueses em 2014 e 2015." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19795.

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O objeto de estudo do presente trabalho é o repertório para clarinete solo produzido por compositores portugueses. Por ser um campo vastíssimo, tornou-se necessário definir um espaço temporal mais reduzido, surgindo, assim, os anos 2014 e 2015. Este trabalho pretende contribuir para uma interpretação informada, através do estudo e análise das obras escolhidas e divulgar a música portuguesa recente, não só, o repertório existente, mas, também, com a estreia de obras. Como metodologia, foram realizados: uma pesquisa bibliográfica sobre o instrumento, um levantamento de obras, uma análise e estud

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37

Hynds, Aaron Michael. "The Composer's Guide to the Tuba: Creating a New Resource on the Capabilities of the Tuba Family." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558255903237631.

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38

Presgrave, Fabio Soren. "Aspectos da musica brasileira atual : violoncelo." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284657.

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Orientador: Emerson Luiz de Biaggi<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-13T23:06:52Z (GMT). No. of bitstreams: 1 Presgrave_FabioSoren_D.pdf: 5223568 bytes, checksum: 5a010cfbb3491bc89109b7d40c80aeb4 (MD5) Previous issue date: 2009<br>Resumo: Este trabalho teve por finalidade o estudo de peças recentes, escritas para violoncelo, por compositores brasileiros que utilizam técnicas expandidas, a fim de proporcionar um detalhamento dessas técnicas para facilitar o contato dos violoncelistas e compositores com a escrita

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39

Younglove, Matthew Edward. "The Saxophone Music of Alex Mincek and Eric Wubbels: Uses of Form, Repetition, and Extended Technique." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu148364007408262.

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Stratford, Charles Hamilton. "Aspects of Compositional Process in Luciano Berio's Circles." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3429.

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Luciano Berio (1925-2003) was one of the most innovative composers of vocal music in the European avant-garde. His composition for female voice, Circles (1960), marks an important stage in his collaboration with his wife, singer Cathy Berberian (1925-1983). Berio was attracted to Berberian's exceptional talents as a performer, and their work together created new avenues of expression for the solo voice, as Berio explored the relationship between music and language. Drawing upon archival documents, this thesis is a study of the materials and methods that make Circles one of Berio's pivotal work

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DeBoer, Amanda R. "Ingressive Phonation in Contemporary Vocal Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1353356284.

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Harrison, Iain. "An exploration into the uses of extended techniques in works for the saxophone, and how their application may be informed by a contextual understanding of the works themselves." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/18047/.

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This thesis investigates how the specific manipulation of a range of extended techniques for the saxophone can help the performer to highlight key aspects of the music. These techniques can be performed with varying levels of nuance through which the implicit thematic relationships within a composition can be emphasised. The performer's interpretation is therefore aided by the controlled manipulation of extended techniques, with the intention of using these techniques to serve the overall analysis of the composition. A brief summary of the acoustical phenomena which produces the saxophone's ra

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Martin, Jon-Luke Joseph. "Pernambuco." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1585496170371045.

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44

Thompson, Jonathan (Oboist). "Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538800/.

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Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and

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45

Li, Hanhan. "Stephen Chatman's Piano Fantasies (1993): An Instructional and Performance Guide for Teachers and Intermediate Piano Students." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505243/.

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Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of conte

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Williams, Tristan Rhys. "The physicality of sound production on acoustic instruments." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/5078.

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This thesis presents practical research into sound production on instruments, working collaboratively with players, in order to build an understanding of the sounds available. I have explored the way in which instrumental technique can be extended in such a way as to function as the basis for musical material. The function of ‘figuration’ has also be brought into question, by employing seemingly primitive, residual material pushed to such a degree that it is possible to hear what happens underneath a gesture. Research in this area has been conducted by, among others, Helmut Lachenmann and Rebe

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Robin, Brad. "Creating Musical Momentum: Textural and Timbral Sculpting with Intuitive Compositional Systems and Formal Design." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862829/.

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This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece,

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48

Miguel, Mariana da Silva. "Experimental creative practice at the piano: a case study." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29942.

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This document focuses on the development of an artistic practice-based research project focused on active experimentation and the development of creativity at the piano. The experimentation process relies on the exploration of extended and prepared piano techniques, which are described throughout the text, as well as on the use of electronics. The creative process involves the composition of a musical piece (Become One) inspired mainly by Music for 18 Musicians, by Steve Reich, its structure, instrumentation and compositional processes. The purpose of this project is to reflect on the work of

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Xie, Dongni. "A Performance Guide to Wu Yiming's "A Poem Carved in Stone"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752372/.

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A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconv

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Wolf, David Malcolm. "The Published Vibraphone Music of Christopher Deane: An examination and comparison of Mourning Dove Sonnet and The Apocryphal Still Life." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211892637.

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