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Dissertations / Theses on the topic 'Flute and piano music - Scores'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of

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2

Chan, Sze-rok, and 陳詩諾. "Inspired by the Hindu tradition: compositionsand reflections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.

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3

Cheng, Yu-sum Anthony, and 鄭汝森. "An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.

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4

Cheng, Chien-Wen. "Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

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5

Wang, Jing. "Cultural and technical perspectives on Winter landscape." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12212.

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For flute, piano, erhu, and Max/ISP interactive computer music system. Duration: ca. 15:00. System requirements: Adobe Acrobat Reader. Includes notes for performance. Includes bibliographical references (p. 94-96).

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6

Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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7

Antoniu, Dan A. Mr. "Integrating Ghosts." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616258287308046.

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8

Lee, Terry Alan. "Grancloud, a real-time granular synthesis application and its implementation in the interactive composition Creo." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12151.

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For flute, violin, French horn, piano, and live electronics. Includes graphic notation for computer. Includes performance notes. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 93-94).

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9

Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as

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10

Gregory, Jason M. "Music for flute and piano and a script for violinist." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3458.

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Music for Flute and Piano is a determinate composition for these two instruments. The technique used consists of serial saturations of pitch and rhythm as a starting point; however, the end result departed from strict adherence to serial procedure toward an intuitive variation of an 'A' and 'B' theme. A Script for Violinist incorporates determinacy and indeterminacy into a score; it is an exploration of violin idioms made 'in the moment,' capturing the many possibilities of bowing, fingering, and timing that become individualized by the performer.

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11

Sharp, Barry Shelton. "Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

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Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work

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12

Lopez, Matthew Santos. "Aaron Copland's Use of Flute in His Late Style| The Case of Duo for Flute and Piano and Threnodies I and II." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13426828.

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<p> Aaron Copland is one of the best-known composers from the United States and is often credited with creating a distinctly American style. As a 20th Century composer, he departed from traditional classical compositional techniques and made some contrasting choices of medium when considering ensemble. Copland is recognized for his writings for Orchestra, Film, Theatre, and Ballet, but also wrote chamber works that are both thoughtful and creative. The majority of his chamber works consist of pieces written for piano and voice, however he also used strings, clarinet, and in his later works, fl

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13

Patch, Marc. "L.U.K.L.O.V.: concerto pour piano." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61132.

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14

Gedosh, David. "Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9851/.

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Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationsh

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15

Edwards, Peter Ivan Edwards Peter Ivan. "Two explorations in musical objects /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170275.

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Thesis (Ph. D.)--University of California, San Diego, 2005.<br>Includes 2 compositions: Puer natus est nobis (zu irgendeiner Zeit) for full orchestra, and Annicha, for flute, clarinet, and piano. Vita. Includes audio reel tape of compositions (analog, stereo., 7 1/2 ips : 7 in.).

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16

Quiroga, Martin. "Concerto Grosso No. 1." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22747.

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This concerto is the composer’s conversation with the past. In four movements, each one embodies a traditional musical form. The work is a continually transforming kaleidoscope of relentless virtuosity, fanciful flights of harmony and melody, and unapologetic shifts in timbre and texture. Although conceived in four separate movements, the entire work is without intervening pauses. The concerto grosso is scored for flute, violin, piano, and string orchestra, and is approximately twenty-five minutes in duration.

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17

Anschutz, Janet Kay, and Joseph 1732-1809 Sonatas piano H. XVI 50 C. major Haydn. "A master's recital and lecture recital." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9818.

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18

Pillman, Laura 1990. "Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538733/.

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Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the

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19

Wen, Bihe. "Sonic "Alchemy": An Original Composition for Piano and Electronics with Critical Essay." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248402/.

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This paper presents the history and the theoretical study of mixed music and focuses on two piano solo works and two mixed electroacoustic compositions for piano and electronics. By discussing the working process and giving the analysis of the original composition Alchemy for piano and electronics, this paper investigates the relationship between cause, source and spectromorphology, reflecting how the concept of energy-motion trajectory are embodied in this mixed electroacoustic work. Alchemy is a mixed composition for piano solo and 8-channel fixed electronics focusing on the gestural play an

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20

Broffitt, Virginia. "The Music of Jennifer Higdon: Perspectives on the Styles and Compositional Approaches in Selected Chamber Compositions." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275656288.

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21

Sloan, Steven Ernest. "The Seasons: 30 Haiku for Flute, Clarinet, Violin, Cello, Mezzo-Soprano, and Baritone." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491382981518334.

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22

Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

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Thesis (M.M.)--Bowling Green State University, 2007.<br>Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.

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23

陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.

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24

Buchanan, J. Paul. "Information Structures in Notated Music: Statistical Explorations of Composers' Performance Marks in Solo Piano Scores." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849733/.

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Written notation has a long history in many musical traditions and has been particularly important in the composition and performance of Western art music. This study adopted the conceptual view that a musical score consists of two coordinated but separate communication channels: the musical text and a collection of composer-selected performance marks that serve as an interpretive gloss on that text. Structurally, these channels are defined by largely disjoint vocabularies of symbols and words. While the sound structures represented by musical texts are well studied in music theory and analysi

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25

Lee, Kyung-ae. "A comparative study of Claude Debussy's piano music scores and his own piano playing of selections from his Welte-Mignon piano roll recordings of 1912." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035961.

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26

Redcay, Andrea. "Theobald Boehm and the History of the Alto Flute, Including the Facsimile Edition of His Arrangement of Beethoven's Largo From the Concerto for Piano, Op. 15, No. 1 for Alto Flute and Piano (C. 1858), With Three Recitals of Selected Works by Griffes, Telemann, Bartok, Jolivet, Gaubert and Others." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935677/.

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An historical perspective of Theobald Boehm (1794-1881) and his design of the modem alto flute. Chapters I and II discuss the development of design, playing technique and repertoire of the ancestors of the modem alto flute beginning with the Renaissance consorts detailed in the treatises of Agricola, Praetorius and Mersenne, through the Baroqueflate d'amour and its use in the music of J.S. Bach, to Boehm's alto flute design (c. 1855) and its use in early twentieth-century orchestral and chamber repertoire such as Stravinsky's Le Sacre du Printemps (1911), ending with specific aspects of contem

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27

Deyoe, Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg. "A simultaneity of conflicting modes of expression." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453674.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.

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28

Anderson, Jonathan Douglas. "The Creative Process in Cross-Influential Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28386/.

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This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming

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29

Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.<br>CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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30

Taher, Cecilia. "Elasticity in three compositions with flute by Boris Blacher." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/320.

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This thesis proposes a new concept of form for Boris Blacher's Divertimento for Woodwinds, Duet for Flute and Piano, and Quintet for Flute, Oboe, Violin, Viola, and Violoncello. In 1950, Blacher began to use systematically varying metric units to provide logic to the apparently arbitrary rhythm of modern music. This practice led the few scholars who have studied his compositions to concentrate on the mathematical organization of metrical units, underestimating other musical elements. This dissertation is based on the idea that it is not the mere disposition of meters, but mostly the interactio

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31

Young, Kar-fai Samson, and 楊嘉輝. "Internationalism, individualism and Chinese national style: the hybrid-identity composer and the in-between space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37095110.

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32

Lee, Brent. "Ribbons of visible air." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0033/NQ38923.pdf.

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33

Kim, Chol-Ho. "Five Seasons: A composition for flutist and percussionist." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20012/kim%5Fchol-ho/index.htm.

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Thesis (M.M.)--University of North Texas, 2001.<br>For flutist (flute, alto flute, piccolo and bass flute) and percussionist performing vibraphone, xylophone, woodblock, glockenspiel and marimba. Includes analysis by composer (p. i-xxxiii). Score includes performance notes. Includes bibliographical references (p. xxxiii).

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34

Griffeath-Loeb, Brian Griffeath-Loeb Brian Griffeath-Loeb Brian Griffeath-Loeb Brian. "Three pieces." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453364.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>The 2nd work for piano, amplified guitar, baritone saxophone, and tuba. Accompanying disc is DVD-ROM, and contains sound files of recordings of works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 8:00 ; ca. 6:00 ; ca. 11:00-12:00. Explanatory or program notes precede each work.

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35

Chan, Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok. "Inspired by the Hindu tradition compositions and reflections /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37933966.

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36

Baril, Félix Frédéric. "Dérèglement passager de corps hétérogènes : le concept d'organisme musical et la métaphore du virus : étude sur les possibilités de développement organique du matériau musical." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100751.

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Dereglement passager de corps heterogenes is a work for flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), horn, piano, violin, cello and contrabass which explores the concept of "virus" within a musical form similar to the theme and variations. During its elaboration, I imagined what could metaphorically be the effects of different virus on what I define as "musical organisms". This idea suggested a number of variations that could serve as laboratories to experiment different levels of interaction between the virus and the musical organisms. This thesis consists of th

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37

Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my ar

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38

Hannesson, Mark Joel. "Folie à deux : a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13908.

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Folie à deux is a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing. It explores the idea of musical influence through the metaphor of shared delusion. This dissertation is made up of four main sections. The first will look at the background to the piece, the historical and personal influences that led to its composition. The second section will discuss those aspects of the piece that are somewhat unique as well as an examination of how it does not correspond to standard practices. Next, a detailed examination of

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39

Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions.

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40

Kwag, Munjung. "A Performance Guide on Selected Sonatas for Flute and Piano by:Darius Milhaud (1892-1974), Louis Durey (1888-1979), Francis Poulenc (1899-1963)." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627665101419925.

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Magalhaes, Luis Miguel de Araujo, and Arnold 1874-1951 Verklärte Nacht arr Schoenberg. "Arnold Schönberg's Verklärte Nacht [music] : transcription for two pianos." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/52692.

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Thesis (M. Mus.) -- University of Stellenbosch, 2002.<br>Full text to be digitised and attached to bibliographic record.<br>ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The tr

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Vaughn, Mark. "Monolith: A Piece for Midi Piano, Mixed Sextet, and Fixed Electronics." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011853/.

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Reference to a regular pulse is one of the most common ways of measuring time in music. As the basis for tempo, meter, subdivisions, and even formal symmetry, pulse, or the sonic articulation of regular units of time, is found throughout all levels of music. In this paper, I describe how I used a structure of twelve simultaneous pulses to compose "Monolith," a recent piece for MIDI piano, Pierrot ensemble, and fixed electronics. In the first chapter, I contextualize "Monolith" by briefly examining pulse's relationship to hierarchical structure in music and the possibilities for creativity in p

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43

Seymour, John. "Syncretisms for wind quintet and percussion: A study in combining organizational principles from Southeast Asian music with western stylistic elements." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6055/.

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Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who h

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Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.

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My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation

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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen,

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Isaza, Velasquez Alejandra. "The musical construction of the nation : music, politics and state in Colombia 1848-1910." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-musical-construction-of-the-nation-music-politics-and-state-in-colombia-1848--1910(41f7f18a-7413-4b88-ba56-ce8c30857a6b).html.

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In this thesis I explain how Western art music gained a political, social and cultural role in Colombia during the decades that spanned from 1848 to 1910. This analysis engages the different attributes that Colombian political and cultural leaders of the time ascribed to art music in order to integrate it as part of their projects of Nation and confronts them with what is known about traditional music practices. In doing so, I explain discourses and social practices that developed around and because of the integration of art music to urban life in Colombia during the period of research. The pu

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Fitch, Fabrice. "Filigranes pour les Frères Limbourg." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60025.

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The paper details and discusses the compositional issues and techniques employed in the candidate's M.Mus. Thesis Composition Filigranes pour les Freres Limbourg. The piece takes its title and inspiration from the work of the fourteenth-century master-illuminators and also makes reference to music of the same period, while at the same time being grounded in a post-serial aesthetic. The composition's relationship to these models and the specific compositional processes derived from the resulting fusion of certain aspects of mediaeval music (including modality and numerology) with serial techniq

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Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

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Alonso, Orlay. "Illuminated Scores and the Architectural Design of Musical Form." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429802524.

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50

Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibr

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