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Relevant bibliographies by topics / Horn and electronic music / Dissertations / Theses

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Dissertations / Theses on the topic 'Horn and electronic music'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

ROONEY, KIMBERLY DIANNE. "Compositional Trends in Solo Horn Works Composed by Horn Performers (1970-2005): A Survey and Catalog." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218545699.

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2

Krohn, Garrett N. "Horn and Live Electronics A Survey of and Performance Guide for a Neglected Repertoire." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616186332963868.

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3

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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4

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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5

Knechtel, J. Beaumont. "Horn Outside the Concert Hall| Nontraditional Implementation of the Horn." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784448.

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<p> The horn is renowned for its contributions to traditional orchestral repertoire and concert hall performances. Since its induction into the symphony, its uses outside the concert hall have been diverse albeit comparatively sparse. However rare, its implementation still spans from the high arts, to world of pop, and to the avant-garde. In 1976, the haunting, sonorous timbre of Peter Gordon's legendary solo horn would inspire Jaco Pastorius to feature it on his titular album. This paper will analyze and define key nontraditional uses of the horn, discuss the effects of non-notated performanc

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6

Falvey, Joseph T. "An Equipment Guide to Performing Baroque Horn Music." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/525.

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Since the renewed interest in Baroque music in the twentieth century, no instrument has been more vexing for performers than the horn. The valveless Baroque horn, coupled with the anachronistic technique of clarino playing places hornists at a major disadvantage when faced with music of the Baroque Period. This study is an equipment guide that can be used as a starting point for conquering the upper-register, sound quality, and endurance challenges posed by Baroque horn writing. Chapter Two focuses on the options available to present-day period horn performers. Although it is not practical to

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7

Nichols, Richard A. "Trio for horn, cello and piano /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889382746.

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8

Richards, Paul Sidney 1969. "Concerto for Horn and Orchestra (Original composition)." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/292008.

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This three movement work, in roughly the classical concerto mold, is designed to explore the combinatorial and soloistic color possibilities of the horn with a chamber orchestra accompaniment. This instrument-oriented composition is reflected in both the structure and substance throughout. Each individual movement focuses on a different aspect of the horns capabilities (broad range in movement I, "singing" quality in movement II, and virtuosic potential in movement III). Harmonies and motives are likewise derived from the horn itself, including it's historic "hunting-horn" origins, as well as

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9

Suchodolski, Heather Blase. "Douglas Campbell: American Horn Pedagogue and Performer." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500009/.

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While the word “pedagogue” may evoke a vision of an instructor who is dogmatic and set in his own ways, the word descends from Greek origins: ped “child” + agogos “leader.” A pedagogue is, by definition, literally the servant who escorts the child to and from school – the “pedagogue” accompanies the student on the journey for knowledge. True to this definition, Douglas Campbell is model pedagogue – one who gently guided his countless students throughout their musical journeys. As Professor of Music (Horn) at Michigan State University for 45 years, and Horn Instructor at Interlochen Arts Camp

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10

Naigus, James Andrew. "A creative pedagogical approach to the continuum of tonality to atonality for the horn through sixty progressive etudes." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5576.

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11

Berenguer, Caro Mónica. "Interpretation of Mozart Horn concertos with an historical view." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2699.

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This thesis is an historical, thechnical dn stylistic investigation of Mozart horn concertos. It includes a description of Mozart's life; the moment in his life where the concertos were developed. It contains information about Inaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limis instrument, as well as the way of the interpretation of these pieces had beed facilitated by the arrival of the chromatic horn. I found out that the knowledge of these conc

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12

Hansen, Jeremy Christian. "A creative pedagogical approach to Hindemith's music for horn and piano with thirty progressive etudes." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/241.

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Collegiate students of horn routinely prepare works for horn and piano from many diverse styles and periods. Many of these pieces are written with materials that extend beyond common practice tonality. Unfortunately most study materials are written in a highly tonal language and date to the Romantic or late Romantic periods. Further, almost all studies written in a modern style are advanced and not progressive in difficulty. As a result of the lack of progressive post-tonal study materials, students are rarely prepared for post-tonal solo works. The traits that mark these pieces as modern pose

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13

Wick, Heidi F. "Applying Natural Horn Technique to Modern Valved Horn Performance Practice." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu991314575.

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14

McBride-Harris, Jenna Lynn. "Interdisciplinary Transfer and Cultivation: How Vocal, Writing, and Visual Arts Can Inform Horn Practice and Performance." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492701963548168.

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15

Teteris, Melisandra Elizabeth. "The solo horn and organ tradition| An analysis of Peteris Vasks's "Musique du Soir"." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10131633.

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<p> The compositional pairing of horn and organ is less common, in comparison to the more popular combination of trumpet and organ, perhaps a result of this pairing being a more recent development in Western art music. In the second half of the twentieth century, composers showed an increased interest in combining the horn and organ particularly in France, the United States, and Eastern Europe. In Paris, the influence of the French organ school was a prime motivator in this ensemble shift along with the desire amongst composers to explore new timbral options. This horn and organ pairing had an

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16

Spidell, Rachel M. "Reexamining Richard Strauss's Second Horn Concerto as a Significant Contribution to Twentieth-Century Music." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262588.

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<p> In 1941 Richard Strauss composed his second horn concerto. Weary from trying to remain in the good favor of the Nazi government, Strauss composed several works late in life that he merely described as “wrist exercises” that were only for the benefit of his estate. The first of these pieces was the <i>Second Horn Concerto.</i> Often labeled as a return to his past, this paper asserts that upon further examination the work is much more advanced than is often labeled.</p><p> Richard Strauss has been labeled by music historians as a neo-Romantic, despite much of his work being

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17

Tung, Margaret. "Dale Clevenger: Performer and Teacher." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259738449.

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18

Smith, Patrick Gregory. "Julius Watkins and the evolution of the jazz French horn genre." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0012940.

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19

Johns, Kristen Michele. "Original Compositions for Horn and Organ: Performance Problems Unique to the Medium with Discussion of Selected Solutions through Analysis of Representative Works." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1141168681.

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20

Kilp, Brian T. 1957. "A discussion of selected works of Bernhard Krol featuring the horn: Thoughts on historical lineage and performance." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288896.

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The document contains a short biography of German composer Bernhard Krol, and discusses portions of three of his works that feature the horn. The works that are examined include Laudatio for solo horn, the "Miserere" movement from Krol's Missa Muta op. 55 for horn and organ, and "Toccata" from Horati de vino Carmina op. 30, which is scored for soprano (or tenor), horn, and piano. This document includes a performer's analysis of each portion, and examines the origins and compositional history of the motivic and melodic materials that Krol draws his inspiration from for these works. The author a

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21

Hottensmith, Benjamin. "The Avant-Garde Horn: A Select Annotated Bibliography with an Analysis and Comparison of Two Representative Works." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587477229322369.

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22

Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.

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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiph

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23

Baker, Sherry Holbrook. "In Memoriam: Nine Elegiac Works for Horn, 1943–2004." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1267719018.

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24

Spencer, Daniel Allan. "A creative and aural method to teach improvisation as a supplement to horn pedagogy for applied lesson instructors." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1759.

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Traditional instrumental pedagogy depends to a large extent on printed method books. This notation-based approach of current horn pedagogy can benefit from a supplementary and complementary method of aural and creative pedagogy, which enhances learning of aural skills, creativity, musicality, and technique on the horn. This document provides a step-by-step guide for applied horn teachers that will provide them with the necessary tools to teach students using aural and improvisatory techniques without musical notation as well as to become more comfortable with improvisation.

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25

Hamilton, Sarah J. "An annotated bibliography of Canadian music for oboe, oboe d'amore and English horn found in the Canadian Music Centre." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1235580996.

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26

Leverenz, Anna. "The Debated Authenticity of Franz Joseph Haydn’s Concertos for Horn: An Historical and Theoretical Approach to Attribution." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1319487744.

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27

Ciraulo, Christopher Samuel. "UEME : the underground electronic music experience." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31198.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.<br>Includes bibliographical references (p. 120-121).<br>The global electronic music scene has remained underground for its entire lifespan, momentarily materializing during an event, a place defined by the music performed and the people who desire the experience. As festivals around the globe begin to take shape, the identity of electronic music defines itself almost instantaneously with a strict desire to return to its roots and find a new place to redefine itself in the next moment. The next moment is envi

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28

Jacobson, Kurt. "Connections in music." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/6020.

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Connections between music artists or songs provide a context and lineage for music and form the basis for recommendation, playlist generation, and general navigation of the musical universe. We examine the structure of the connections between music artists found on the web. It is shown that different methods of finding associations between artists yeild different net- work structures - the details of associations and how these associations are discovered impact the global structure of the artist network. This realization informs our associations framework - based on seman- tic web technologies

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29

Van, der Walt Madele. "A design environment for the automated optimisation of low cross-polarisation horn antennas." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5144.

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Thesis (MScEng (Electrical and Electronic Engineering))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: The aggressive space mapping algorithm is used in this project for the optimisation of electromagnetic structures. This technique combines the use of fast, less accurate models with more time-consuming, high precision models in the optimisation of a design. MATLAB’s technical computing environment possesses powerful tools for optimisation as well as the graphical representation and mathematical post-processing of data. A software interface, which uses Visual Basic for Applicatio

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30

LIU, YI-HSIN CINDY. "The Examination of the Appearance and Use of French Horn in Film Scores from 1977 to 2004." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116000974.

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31

Behmer, Cynthia Lynn. "Pedagogical Insights to Successful English Horn Performance: A Guide for College-Level Oboists." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202700.

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The English horn has persevered as a popular solo instrument by the many composers who have written for it since its inception as a member of the oboe family at the Court of Louis XIV in the seventeenth century. While modern English horn popularity and performance practice continues to flourish through new literature, master classes, and recordings, a review of the existing literature reveals that there is a need for an informative guide for advanced, college-level oboists who wish to begin doubling on the English horn. The present study is intended to serve as a comprehensive resource for the

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32

Young, Kar-fai Samson Young Kar-fai Samson Young Kar-fai Samson Young Kar-fai Samson Young Kar-fai Samson. "Internationalism, individualism and Chinese national style the hybrid-identity composer and the in-between space /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37095110.

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33

Sheppard, Adam. "Aesthetic Practices in my Live Electronic Music." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/202.

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Live music has the ability to unite individuals and affect them on both cognitive and emotional levels. Its time-honored tradition remains the true test of a musical work?s strength and longevity. Electronic music in particular has had some difficulty in establishing well-formed performance practices in its relatively short life span. The problem may not be one of sonic, but rather visual inhibition and general discontinuities between the audience and performers. In this paper I raise three questions of aesthetic value concerning live performance. Why do we go to live musical performances? How

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34

Lickiss, Aleo Angela. "The oboe and English horn works of Ross Edwards and his place in Australian music." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3130.

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The oboe and English horn works of Ross Edwards are fascinating and challenging to oboists of all abilities. However, Edwards' works have received little recognition beyond Australia. These pieces can be used to expose students to non-European influences in music, especially that of Aboriginal Australians. These works deserve to be considered part of the standard repertoire of an oboist due to their musical and technical demands and their position in the repertoire of the 20th and 21st centuries. Modern Australian music history can be traced back to the time the English first colonized the con

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35

Rekward, Susan J. "The Horn at the Paris Conservatoire and its Morceaux de Concours to 1996." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278364/.

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A work concerning the history of the Paris Conservatoire and music education in France. Follows the development of the horn and its correlation with the French school of horn playing. Includes biographic information on the horn professors of the Conservatoire through 1997, as well as a comprehensive list of the morceaux de concours for horn, 1795-1996.

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36

Wyness, James. "Portfolio of compositions and a commentary." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources. Restricted: no access to compostions, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428.

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37

Stewart, Brandon (Brandon Gregory). "Horn Concerto in E-flat Major (C41) by Antonio Rosetti: A Critical Edition." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609216/.

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This project delivers to the scholar and performer a critical edition of a little-known horn concerto by Antonio Rosetti. Standing in contrast to performance or practical editions, critical editions demand that the editor exerts a non-trivial measure of authority over the state of the text. Performers often find this fact to be uncomfortable given the normal tendency to revere the perceived intent of the composers based upon the text that they set down. When engaging with sources, it is rarely clear what that intent is, or which of the available sources most closely represents that intent. Tho

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38

Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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39

Thiebaut, Jean-Baptiste. "Sketching music : representation and composition." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/406.

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The process of musical composition is sometimes conceived of as an individual, internal, cognitive process in which notation plays a passive role of transmitting or recording musical ideas. This thesis questions the role played by representations in musical composition practices. We begin by tracing how, historically, compositional practices have co-evolved with musical representations and technologies for music production. We present case studies to show that the use of graphical sketches is a characteristic feature of the early stages of musical composition and that this practice recurs acro

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40

Daigle, Jennifer B. "An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151003398.

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41

Cain, Peter L. "A “Farewell” to His Past: Krzysztof Penderecki’s Clarinet Quartet and Sextet." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336683462.

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42

Davies, Robin 1975. "Toolkit : specialized software tools for electronic music composition." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32905.

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This research presents new audio creation and processing tools for the virtual electronic music studio. The Tools were created by the author in the Max/MSP authoring environment. Some Tools model analog production techniques lost when studios moved inside computers, and provide additional functionality only possible in the digital world. Others make use of traditional processing ideas but add a level of control difficult to find in today's audio software plug-ins. The Tools are small, simple, real-time, and user-controllable devices for working with sound.

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43

Rawlinson, Julian Dean. "Interpretive electronic music systems : a portfolio of compositions." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5973.

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A portfolio of electronic music compositions employing adaptable controllers, graphic notation, and custom software performance environments. The portfolio is comprised of scores, recordings, and supporting software and audio files for the following: Short Circuit; Sample & Hold; Mute | Solo; NCTRN; Radio | Silence; and Please use the tramps provided. Supplementary files include alternative audio and video recordings of some of the works listed above, additional software documentation, and a video recording of a structured improvisation featuring the controllers and software used in this portf

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44

Payling, David. "Visual music composition with electronic sound and video." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.

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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio

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45

Cookney, D. "Masked : depictions of anonymity in electronic dance music." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36101/.

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This thesis explores anonymity as an aspect of identity construction within electronic dance music (EDM). Its specific focus is on the production and control of image within genres that have arisen since the development and expansion of the club scene in the UK from the latter part of the 20th century and, then situated in visual culture and performance research, its examination of anonymity represents an area that, to date, has been overlooked in EDM. As part of this investigation, the thesis’ chapters notably analyse elements that are external to music recordings including record sleeve desi

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46

Damicone, Tiffany N. "“The Singing Style of the Bohemians” – A Study of the Bohemian Contributions to Horn Pedagogy, Western Perspectives on Czech Horn Playing and Analysis of the Teachings of Zdenek Divoky' at the Academy of Performing Arts." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366311585.

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47

Kawamoto, Hideko. "Summer rain part 1, Summer rain - dawn, for two channel tape ; part 2, After the summer rain, for piano and two channel tape /." connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/kawamoto%5Fhideko/index.htm.

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48

Harvey, Sandi K. "The analysis of Okinawan popular music and identity in relation to other studies of southeast Asian popular music." Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3720.

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This research attempts to use the creation of popular music in Okinawa as a symbolic resource to reveal attributes related to the making of identity. Popular music in non-Western societies is a useful unit of analysis that can explain how people respond to cultural change and can tell us much about cultural values. The origin of identity studies is both historical and political by nature. However, socio-cultural functions can further expand our understanding of both cultural and political resistance. Popular music as identity is not static and is always in flux. Identity addresses the ongoing

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49

Grove, Benjamin J. "Cruise/Control for Wind Ensemble and Fixed Electronic Media." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524481623531767.

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50

Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.

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This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through t

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