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Dissertations / Theses on the topic 'Guitar with orchestra'
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Olson, Ted. "The Guitar: ‘An Orchestra Unto Itself'." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1205.
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Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.
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The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a rondo setting.
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Diedova, A. B. "An electric guitar as a small orchestra." Thesis, Sumy State University, 2014. http://essuir.sumdu.edu.ua/handle/123456789/45591.
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I cannot imagine my life without my electric guitar. It is not a thing. It is an extension of myself. It is who I am. Today not many people can tell about creation of this instrument. An electric guitar is a guitar that uses a pickup to convert the vibration of its strings into electrical impulses. Some of the earliest electric guitars adapted hollow bodied acoustic instruments and used tungsten pickups. The first electrically amplified guitar was designed in 1931 by George Beauchamp. George Beauchamp was born in Coleman County, Texas. Beauchamp performed in vaudeville, playing the violin and the lap steel guitar, before he settled in Los Angeles, California.
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Casallas, Fernandez Jose Andres. "Making Music with a guitar orchestra : Motivation and friendship." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3266.
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How can I, as a leader, keep the motivation of the participants in a group? When I started to write this report, I was focused on, how a group could affect the participants motivation of the participants, but little by little I realized that the biggest motivation came from that this group affected mostly my own motivationmyself. The guitar orchestra has given me the opportunity to learn and it has given another sense to my knowledge as musician and teacher. Analysing what I have done with the guitar orchestra has awakened more questions than answers. What exactly did I do? Why did I do it? Was it really effective? This written part of my project at KMH describes how, together with my colleagues, we have organized an orchestra of guitars in Avonia music institute based in Espoo, Finland and how this group and my own motivation have affected the motivation of the participants.Making Music with a guitar orchestra
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Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.
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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.
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Tan, Wann-Dar. "Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis and Performance Considerations." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/tan%5Fwann-dar/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2005.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 2000, Apr. 16, 2001, Nov. 3, 2003, and Mar. 28, 2005. Includes bibliographical references (p. 113-115).
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Cuellar, Camargo Lucio Edilberto. "General process in the creation of Estruendos and principal structural elements of the composition." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20021/cuellar%5Fcamargo%5Flucio%5Fedilberto/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2002.For orchestra, guitar and computer generated sounds. Duration: 23:45. Compact disc contains computer-generated and processed sounds. Includes bibliographical references (p. ciii-cvii).
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Fourie-Gouws, Josina Nina. "The solo classical guitar concerto : a soloist’s preparatory guide to selected works." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63459.
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The study addresses the preparatory information needs of potential performers of solo classical guitar concerti. Identifying a range of specific decisions that play an important part in the pre-performance planning of an anticipated concerto performance provides performance considerations for each selected concerto. The content of six solo classical guitar concerti spanning almost 180 years by six composers from four countries was analysed for the purpose of this study. Two early guitar concerti by guitarist composers Mauro Giuliani (1781-1829) and Ferdinando Carulli (1770-1841), two modern concerti by non-guitarist composers Mario Castelnuovo-Tedesco (1895-1968) and Joaquín Rodrigo (1901-1999) and two modern concerti by guitarist composers Heitor Villa-Lobos (1887-1959) and Leo Brouwer (b.1939) were investigated.
The study examines specific compositional and performance aspects of each concerto to serve as a guideline for professional performers, students and teachers. Each concerto was analysed according to similar themes: the historical significance of the investigated concerti, pre-performance considerations, the level of difficulty of selected concerti, technical observations, performance recommendations and observations regarding balance between the soloist and orchestra. As an addendum the study provides a comprehensive list of published concerti for solo classical guitar.Mini Dissertation (MMus)--University of Pretoria, 2017.
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Shanley, Adam. "The Use of Guitar in Anton Webern's Op. 18 and its Influence on His Late Works." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20524.
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Anton Webern’s Op. 18 stands at nearly the exact center of his published work. Though it was in his Op. 17 that Webern began working with ordered pitches, there are some logistic struggles evident in his diversions from the row throughout that work. It is in Op. 18 that Webern first consistently uses a row in its complete, unchanged form. His increasing mastery of this style of composition is shown throughout Op. 18, a collection of three songs; the first with a single row repeated with no permutations of any kind; in the 2nd song, inversions and retrograde are introduced; and in the final song Webern experiments with simultaneous unique row forms for each instrument.
These songs feature a guitar, E-flat clarinet, and soprano voice, with the first song a setting of a folk text. In this dissertation I argue that Webern’s later style–his orchestration, harmonic progressions, and formal structures–grows out of his choice of guitar as harmonic foundation in Op. 18.
In my analysis I look at row construction and usage, as well as orchestrational considerations, folk implications, text setting, and specific voice-leading properties of Webern’s Opp. 18, 25, and 30. In so doing I will uncover a link between Webern’s pivotal Op. 18 song cycle, with the guitar playing a central role, and many of his compositional choices in his later works.
My analysis looks at Webern’s works through the lens of a guitarist. I will explore the piano accompaniment of Op. 25 as if it were written for guitar, and do the same for his Op. 30 Variations for Orchestra. These analyses will show that his later works, and later style in general, have an underlying idiomatic character of guitar music. I argue that Webern’s late works feature, as a result, are his own version of folk music through their simplicity, clarity of form, and overall encapsulation of the sound of the guitar.
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Almeida, Renato da Silva. "Do intimismo à Grandiloqüência (Trajetória e estética do concerto para violão e orquestra: das raízes até a primeira metade do século XX em torno de Segovia e Heitor Villa Lobos)." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-14082009-171602/.
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O presente trabalho constitui-se numa pequena colaboração para o estabelecimento de um panorama dos Concertos para Violão e Orquestra. Desde suas primeiras obras no século XIX até a primeira metade do século XX. Buscamos identificar nessa exposição, personagens, fatos e eventos de fundamental relevância para o desenvolvimento do gênero e uma análise do Concerto para Violão e Pequena Orquestra de Heitor Villa-Lobos.This work is a small collaboration to establish a panorama of Guitar Concertos since the initial works of the 19th century until the works of the first half of the 20th century. In this exposition, we focused on identifying characters, facts and events of fundamental relevance to the development of the genre. Especially, we developed a detailed analysis of the Concerto para Violão e Pequena Orquestra by Heitor Villa-Lobos.
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Spence, Jacob F. "L'Éternité : cantata for SATB soloists and choir, flute, cor anglais, bass clarinet, alto saxophone, timpani, eight percussionists, piano, harpsichord, celesta, harp, guitar and string orchestra." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/27450.
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Escudeiro, Daniel Alexander de Souza. "Aporia: um caminho para a composição musical intertextual." Universidade Federal da Bahia, 2012. http://www.repositorio.ufba.br/ri/handle/ri/7727.
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Tendo em mente que os caminhos para a atividade composicional podem permear uma abordagem específica, procura-se neste trabalho direcioná-la pelo viés intertextual para a composição de uma obra para violão e orquestra. A discussão é relevante, tendo em vista o crescente interesse pelo assunto e sua aplicabilidade no meio musical. O recorte bibliográfico na literatura — Bakhtin (2010), Kristeva (2005), Genette (2006), Bloom (2002) e Sant’Anna (2003) — relaciona-se com autores da área de música pelo olhar da teoria intertextual. Foram escolhidas as músicas do compositor brasileiro Guinga (1950), para voz e violão, como “texto de partida”, com o fim de utilizar a produção musical dele como suporte analítico e composicional. Encontrou-se no mundo cancioneiro de Guinga um diálogo com diversas tendências e um acurado senso de utilização idiomática no acompanhamento de violão das suas canções. Analisamos processos em que o idiomatismo pode ser empregado como uma ferramenta composicional viável, especialmente no universo violonístico. Isso possibilitou uma concepção composicional advinda de parâmetros intertextuais e idiomáticos (violonísticos), em que foram tratadas algumas atitudes compositivas. Esse direcionamento apontou para uma intertextualidade idiomática. Concomitantemente, foram desenvolvidos musicalmente alguns dos recursos específicos relacionados à literatura, como epígrafe, citação, paródia, entre outros. Verificou-se também uma aproximação da teoria intertextual com o pós-modernismo, averiguada em discussões sobre o assunto. O resultado do trabalho pode ser conferido na peça Aporia, na qual foram abordadas algumas das questões estéticas, idiomáticas e intertextuais propostas.
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Pedro, Renato Cardinali 1981. "Uma orquestra de viola caipira do município de São Carlos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284491.
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Orientador: José Roberto ZanDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho é resultado da pesquisa realizada sobre a Orquestra Amigos Violeiros de São Carlos, uma formação musical de caráter social sem fins lucrativos, que se dedica à prática da viola caipira. O enfoque principal foi investigar como o envolvimento com a Orquestra ativa aspectos de identificação destes sujeitos com a cultura caipira e a música sertaneja. Para tanto, utilizamos os métodos etnográficos e etnomusicológico que busca compreender os sentidos das ações dos sujeitos envolvidos nessa formação musical, suas representações e prática musical. Os procedimentos realizados para a coleta dos dados foram observações participantes dos ensaios e apresentações do grupo, registradas em caderno de campo, entrevistas e gravações de áudio e vídeo. Além disso, abordamos aspectos históricos da viola, da cultura caipira, do segmento musical sertanejo, bem como da formação e desenvolvimento da Orquestra. A partir das análises dos dados, foi identificado como o envolvimento dos integrantes com o grupo e com sua prática musical ativa aspectos de identificação destes sujeitos com o que consideram ser a cultura caipira
Abstract: This work is the result of the research conducted on the Orchestra Amigos Violeiros of São Carlos. A non-profit and social musical formation dedicated to the practice of Brazilian ten-string guitar. The main focus was to investigate how the involvement with the Orchestra activates identification aspects of these subjects with the caipira culture and Brazilian country music. Therefore, it was used ethnographic and ethnomusicological methods that seeks to understand the meanings behind the actions of those involved with the musical formation, its representations and musical practice. The procedures carried out for data collection were participant observation of rehearsals and performances of the group, recorded in the field notebook, interviews and audio and video recordings. Besides, it was discussed historical aspects of the viola, the caipira culture, the Brazilian country musical segment as well as the formation and development of the Orchestra. From the data analysis, it was identified how the involvement of the members in the group and their musical practice activates identification aspects of these subjects with what they consider to be the caipira culture
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McIntyre, Scott. "Folio of compositions 2008-2009." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7046.
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Mariano, Anderson de Sousa. "A Guitarra Elétrica em Gruppen Für Drei Orchester Karlheinz Stockhausen." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6591.
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Previous issue date: 2011-03-25Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This researsh analyses the participation of the electric guitar in the work Gruppen für drei orchester of the German composer Karlheinz Stockhausen. The work is subdivided in three chapters. The first deals history aspects of the instrument and its use in the avantgarde concert music of the twentieth century, featuring a selection of works of the most important composers of this aesthetics, in which the electric guitar participates. In the second chapter, the focus are the general aspects related to the work and the composer, in addiction to a deepening in the pre compositional plan of Gruppen and in the group composition technique used in the work; on this the first three groups of the work are analyzed. In the third chapter, we have selected the groups in which the electric guitar is present, examining the serial context of the work, based on the main parameters instrumentation, pitchs, rhythm, articulations an dynamics, them including an explanation about the idiomatic use of the instrument in fostering of the groups sounds, and the exposure of a typing model of the electric guitar score for entire the work.
Esta pesquisa analisa a participação da guitarra elétrica na obra Gruppen für drei orchester do compositor alemão Karlheinz Stockhausen. O trabalho está subdividido em três capítulos. O primeiro aborda aspectos históricos do instrumento e seu uso na música vanguardista de concerto do século XX, apresentando uma seleção de obras dos compositores mais importantes desta corrente estética, nas quais a guitarra elétrica participa. No segundo capítulo, o foco são os aspectos gerais relacionados à obra e ao compositor, além de um aprofundamento no plano pré-composicional de Gruppen e na técnica de composição por grupos utilizada na obra; neste, os três primeiros grupos da peça são analisados. No terceiro capítulo, são selecionados os grupos onde a guitarra elétrica está presente, examinando-a dentro do contexto serial integral da obra, baseado nos principais parâmetros - instrumentação, alturas, ritmos, articulação e dinâmica , além de uma explanação sobre o uso do idiomatismo do instrumento em favorecimento da sonoridade dos grupos, e da exposição de um modelo de digitação da partitura da guitarra elétrica de toda a peça.
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Wheeler, Robinson Andrew. "The brief nature of the wind, the flower of the air : Elliott Carter's "Allegro Scorrevole" for orchestra and Caeli, for two sopranos, two electric guitars, two percussion, and electronics /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.
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Kesikli, Egemen 1989. "In the midst of life : a concertino for guitar and chamber orchestra." Thesis, 2014. http://hdl.handle.net/2152/26434.
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In the Midst of Life is a highly-virtuosic concertino for solo guitarist and chamber orchestra. The piece explores variations of makamic intervallic structures—complex melody types and modes in traditional Middle Eastern Music—and builds the formal architecture and the pitch material upon makamic textural and melodic relations.text
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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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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 contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
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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 contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2.
The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements.
The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
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"A portfolio of music compositions." Thesis, 2014. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1291473.
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