Dissertations / Theses on the topic 'Horn with orchestra'

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 the chromatic potential of the natural overtone series. This work was commissioned by the Catalina Chamber Orchestra with soloist Jacqueline Sellers, and premiered in Tucson, Arizona on March 7, 1993.

1 score (vii, 80 p.). A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The genre "Sinfonia Concertante" typically features one or more solo instruments interacting with an accompanying orchestra. It is neither a concerto nor a formal symphony, but a hybrid of the two. In this composition, the horn is the featured instrument, accompanied by a chamber orchestra consisting of 1 Flute (doubling Piccolo), 1 Oboe, 2 Clarinets (second player doubling Bass Clarinet), 1 Bassoon, 1 Trumpet, 1 Trombone, 2 Percussionists, and a full complement of strings. The piece exhibits characteristics of a traditional symphony through the use of primary and subordinate theme groups that are contrasted in character, harmonic areas, and orchestration. The work explores the concept of rhythmic juxtaposition by the casting of a motive against an augmented version of itself. In general, the use of recurring themes and motivic fragments as well as a recycling of pitch material help to tie the two movements together as a cohesive whole.
Committee in Charge: Dr. David Crumb, Chair; Dr. Robert Kyr; Lydia Van Dreel

La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is conceptually based on the idea that spring is not the first of the seasons, but rather the last. As a result, all of its motivic materials are organically linked to one another, and function as paired forces that struggle for supremacy. The introduction of the third motive functions as a motivic synthesis, since it contains intrinsic elements of previous motives. There are several important compositions based on the topic of the seasons among them we find: Vivaldi's Concerto Grosso Le Quatro Staggione, Haydn's oratorio The Seasons, and Piazzola's chamber work Las Estaciones. While researching this topic, the conceptual dilemma of spring as the last season was considered. This became a turning point in the compositional process strong enough to consider the spring as a singular topic of interest. The analysis of this work through Derrida's Deconstruction theory first came to me while reading Rose Rosengerd Subotnick's Deconstructive Variations: Music and Reason in Western Society. The Linguistic approach, was inspired in part by Leonard Bernstein's lecture “The Unanswered Question,” and Jean J. Nattiez's Music and Discourse: Toward a Semiology of Music.

Helen Kotas was an accomplished musician and teacher who helped open the door for women in major US orchestras. In 1941 the Chicago Symphony hired its first female brass musician, principal hornist Helen Kotas. With that daring move, she became a pioneer for her gender in the major orchestras of North America. Despite her many contributions to the musical community, Kotas's life has not been researched and documented. This paper looks at Helen Kotas's career as well as a glimpse at her life and personality. In addition to documenting her life, this dissertation attempts to show at least a portion of Kotas's philosophy of teaching and horn playing. She was an accomplished horn soloist and studied the literature extensively. Kotas performed in the Chicago Civic Orchestra, the Woman's Symphony Orchestra, and Leopold Stokowski's All-American Youth Orchestra. Kotas was hired by Fritz Reiner as third horn of the Pittsburgh Symphony. When Frederick Stock, conductor of the Chicago Symphony Orchestra, heard that Helen Kotas was going to Pittsburgh, he insisted that she audition for the CSO. Kotas auditioned on the Concerto for Horn by Richard Strauss and the concertmaster said, "Hire her!" She performed as principal horn with the orchestra until Artur Rodzinski was hired as conductor in 1948 and replaced Kotas with Philip Farkas. Following her time with the CSO, Kotas was principal horn of the Chicago Lyric Opera and taught at the Sherwood and American Conservatories. She was an active soloist and premiered works by Arne Oldberg and Hugo Kauder.

This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strings. Then, primarily stated in the middle register, we hear it in a wind trio consisting of clarinet, bassoon and horn. The next section is a low rumbling effect where the low strings and bass clarinet make the statement. Lastly, before a quasi-development section, the statement is heard in highest register with the flute, oboe, clarinet, and violins. This last statement peaks and the piece begins to slightly accelerate and make use of eighth notes in a polyphonic exploration in E minor. After this is established the tonality becomes blurred and cadences are delayed. The first violin and flute seem to be behind a couple measures even though they are considered of the fastest instruments in the orchestra. Eventually the orchestra collides and unites again to build strength, but it is of no use because they seem to have hard trouble finding the original tonality. When they final reach the E minor tonality again, they are exhausted and gradually fade away to the final cadence where we hear the two thematic chords simultaneously: strings – E minor, high winds – F major.

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, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.

Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently marked by a loosening of compositional constraints, including freer formal procedures, instrumentation, harmonic structures, and an increase in chromaticism (aided by the new chromatic abilities of the trumpet). This document provides an in-depth comparative analysis within an often overlooked genre of music and gives insight into changes in Haydn's compositional style and the concerto genre.

L’any 1920, Pau Casals –conegut internacionalment com a Pablo Casals– va fundar una nova orquestra a Barcelona sota el seu propi nom, l’Orquestra Pau Casals (OPC). Junt a d’altres raons de caràcter personal i professional, el seu objectiu era establir a la capital catalana una orquestra de primer nivell, com les moltes que havia conegut a tot el món, especialment als EUA, en la seua carrera com a solista. Una de les seues principals preocupacions en la creació d’aquesta institució musical va ser la configuració del quartet de trompes. Aquesta tesi argumenta la manifesta inquietud de Casals pels trompistes de l’orquestra. En segon lloc, documenta els diferents músics que van formar-ne part del quartet i les seues carreres, abans i després de l’OPC. L’objectiu no és simplement fer una biografia dels membres del quartet de trompes sinó resseguir la seua història; estudiar la seua provinença, formació i experiència orquestral; analitzar els seus instruments; així com les responsabilitats en l’orquestra des del punt de vista de l’instrument. A dins del projecte humà, social i estètic de l’OPC, la qüestió del quartet de trompes representa un cas paradigmàtic del moment de transformació que viu l’instrument, tant per la recepció d’un nou repertori simfònic –on destaquen les composicions de Richard Strauss– com per l’existència de notables canvis organològics per a adaptar la trompa a les exigències i necessitats d’aquestes noves obres. A més ho fa en el context de Barcelona en un dels moments més destacats de la història de la música al país; també gràcies al paper de l’OPC que converteix la ciutat en pol d’atracció per a solistes i directors i que estimula la creació musical contemporània, especialment entre els compositors catalans. De la mateixa manera, destaca la influència de l’enregistrament sonor a l’igual que la difusió de la música a la ràdio, que expandeix el consum de música a tot el món. Les carreres dels trompistes que van formar part de l’orquestra de Casals són també un exemple de la transformació de l’ofici de músic durant el primer terç del segle xx, una feina que trenca fronteres i esdevé global, amb una alta mobilitat en els músics d’orquestra. És tracta d’una generació de músics nascuts a finals del segle xix i que marquen una diferència notable amb l’anterior. L’esclat de la Guerra Civil Espanyola va representar un clar trencament amb la següent generació de trompistes actius a Barcelona, com també ho va ser en l’àmbit de les institucions musicals, ja que va significar la fi de l’existència de l’OPC. Per una altra banda, l’enregistrament històric és un testimoni dels diversos estils interpretatius dels músics i dels conjunts, el disc mostra les diferències estilístiques entre les orquestres a la vegada que suposa el principi de la fi d’aquestes diferències en un llarg procés de globalització de les pràctiques interpretatives. Aquesta tesi repassa la història de l’OPC i especialment la figura de Casals com a director, tot i que el principal objectiu se centra en els trompistes de l’orquestra. A través de múltiples aproximacions –des de la revisió crítica de la bibliografia fins a l’estudi organòlogic, des de l’anàlisi de les fonts a la interpretació del repertori des dels materials utilitzats a l’època–, aquest treball demostra que el quartet de trompes era una unitat cabdal per a l’objectiu de Pau Casals de crear una orquestra de primer nivell a la Barcelona de la dècada de 1920.
In 1920, Pau Casals –internationally renowned as Pablo Casals– founded a new orchestra in Barcelona under his own name, the Orquestra Pau Casals (OPC). Along with other personal and professional reasons, his objective was to establish a first-class orchestra, like the many that he had known all over the world, especially in the USA, during his career as a soloist. One of his main concerns during the creation of this musical institution was the configuration of the horn quartet. This thesis reports Casals' proved anxiety about the hornplayers of his orchestra. Secondly, it documents the different musicians who were part of the quartet and their careers, before and after the OPC. The purpose is not merely to make a biography of the members of the horn quartet but to know their history; study their provenance, musical education and orchestral experience; analyse their instruments; as well as the importance of their role in the orchestra from the point of view of the instrument. Within the human, social and aesthetic project of the OPC, the question of the horn quartet represents a paradigmatic case on the transformation of the instrument, through the reception of a new orchestral repertoire –mainly, Richard Strauss’ tone poems– and the remarkable organological changes produced in order to adapt the horn to the needs and challenges of these new works. In addition, the 1920s and thirties were one of the most outstanding moments in the history of music in Barcelona, because of to the role of the OPC that made the city into a pole of attraction for soloists and directors and that stimulated contemporary composition, especially among Catalan musicians. In the same way, sound recording was very important at that time, as well as the radio, that spread music consumption around the world. The careers of the hornplayers that were part of the Casals’ orchestra are also an example of the transformation of the musician's profession during the first third of the 20th century. It was a job without borders that became global, and required a lot of travelling for the orchestra musicians. It was a generation of musicians that were born at the end of the 19th century that made a notable difference with the previous one. The outbreak of the Spanish Civil War represented a clear change compared with the following generation of hornplayers in Barcelona. The same occurred with musical institutions, as it meant the end of the OPC. On the other hand, historical recordings are evidences of the diversity of performing styles of musicians and ensembles, they show the stylistic differences between the orchestras. At the same time, they represent the beginning of the end of this diversity in a long process of globalization of performance practices. This thesis reviews the history of the OPC and especially the figure of Casals as a conductor, although the main purpose of this dissertation focuses mainly on the OPC hornplayers. Through multiple approaches –from critical review of the bibliography to organologic studies, from source analysis to period scores repertoire interpretation–, this work demonstrates that the horn quartet constitutes a critical element for Pau Casals’ aim to create a first-class orchestra in the Barcelona of the 1920s.

This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is scored for solo viola and chamber orchestra. A cassette copy of the recital is available with this book.
Arts, Faculty of
Music, School of
Graduate

The purpose of this essay is to give an in-depth analysis of the present-day audition process, focusing on European and American orchestras and United States service bands. The research achieved a familiarity with the preparation process and methods in order to provide a concrete understanding of how to best approach an audition. More importantly it investigated the differences and similarities in audition repertoire, procedure and requirements between European orchestras, American orchestras and United States service bands, resulting in a comprehensive and global perspective on the study and foster a more thorough understanding of the audition process as a whole. This study is designed to showcase an overview of valuable insights and resources from a multitude of perspectives combined into one single document, thus creating a source for future auditioning candidates.

The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.

Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals. The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.

The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonic. This study details the introduction of soundtracks, the early studio orchestras, the contract studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonic and the studios, major figures from the subsequent freelance period such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.

碩士
國立臺北教育大學
音樂學系碩士班
105
This thesis focuses on the music of the nineteenth-century Russian composer, Reinhold Moritzevich Glière, and his Concerto for Horn and Orchestra,opus 91. This piece is a unique creation of Glière only one French horn concerto, full of strong Russian romantic style of music. This piece occupies an important position in the French horn repertoires. This thesis is divided into four chapters. Chapter 1 is an introduction, explaining the research motivation, purpose and methodology. Chapter 2 is a brief biography of Reinhold Moritzevich Glière and a general overview of his compositions and performances, including an introduction of the circumstances in which the piece was composed. Chapter 3 is an attempt to analyze and interpret the music “Concerto for Horn”, analyze the musical structure, motivation and creative approach. Chapter 4 is an attempt to use the analytical results to serve as the basis to give the suitable interpretation of instrumental performances. The last is the conclusion of this paper, bringing up the views and points of the author.

碩士
國立臺中教育大學
音樂學系碩士班
101
The French Horn Concerto by Reinhold Moritzevich Glière of the Russia was composed in 1951. Glière wrote this concerto in 1951 and dedicated it to Valeriy Polekh. The date and place of the first performance was fixed--May 10, 1951, in Leningrad. The purpose of research is to discuss Glière《Horn Concerto, Op.91 》’s performance style. In chapter one of this article is about research purposes and methods. In the second chapter, describes the growing up of Glière 's and his life story, and the creation background of the musical composition. In the third chapter is directed against the concerto that he created《Horn Concerto, Op.91》entering analysing of this concerto. In the fourth chapter is directed against present author's play annotation explanatory note of this composition. The fifth chapter is conclusions. This concerto was possession of the status of the importance of french horn. This concerto ordeal performer endurance and player skills （like fast Staccato, long phrase legato, con sord. ……）Three movements have different melody stytle, sometimes very beautiful melody, but sometimes very strong. Thus become one of important track of french horn.

Composed entirely of runes, the 14th century manuscript Codex Runicus is comprised of 101 sheets and contains historical documents such as "Kings until Erik Menved" and "Boundaries between Denmark and Sweden." The end of the codex contains the oldest surviving Nordic music fragment with lyrical text "Drømde mik en drøm i nat um silki ok ærlik pæl" which translates as [I] dreamt me a dream last night of silk and lovely cloth. This melody, alongside three Norwegian folk slåttar written for fiddle, Fjellbekken (The Mountain Stream), Fjøllrosa (The Mountain Rose), and Syrgjefuen (The Bird of Sorrow), is used to generate the pitch material for this composition for string orchestra, english horn and french horn. The piece is contrapuntal in nature. A large portion of the work is formed from essentially five groups or layers of melody that comfortably co-exist towards, as well as away from, each other, their independent natures being most evident in the first half of the piece. Additionally, there are fluctuations within each group itself, for examples, forms of imitation, slippage, change in register, variation in playing technique, and micro-displays of rhythmic independence set against more heterophonic textures (Considerable use of rhythmic embellishment is derived from the ornamental style found in harding fiddle slåttar). Such micro-fluctuations further distinguish the texture-intentional orchestration of each group. Although the use of layered melody forms the framework for the entire composition, there is continual exploration of its possibilities through various parameters such as density vs. transparency, and continuation vs. fragmentation.

Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work.
Tam, Chin Fai.
Thesis (D.Mus.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 391-392).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese; includes in Chinese.

碩士
國立臺南大學
音樂學系音樂科教學碩士班
102
Robert Schumann (1810-1856) is one of the most important composers of Romantic School of the nineteenth century. Among his works, the《Concert Piece for Four Horns and Orchestra, Op. 86》is one the only two compositions written for horn, and he wrote this piece for the Valved Horn. The purpose of this thesis is to study the characteristic and style of his《Concert Piece for Four Horns and Orchestra, Op. 86》. This thesis is divided in the following parts: 1. in the second and third chapters, the study of life of Robert Schumann and the general characteristics of his music works is provided. 2. In chapter four, a detailed analysis of the formal structures, harmonic vocabularies, melodic materials, rhythmic features, and other contents are explored, as a reference to understand the structure this pieces. 3. in chapter five, an comparative description of three recordings this this composition is illustrated to study performance interpretations of each recording. In the final chapter, a summary of this thesis is provided for performer, educator, and researcher, as a reference for further studies of this composition and of Schumann’ other compositions.

Quintet for winds and piano -- Preludes and fugues for piano solo -- Variation for string quartet.
Wong Kong Yu.
Thesis submitted in: December 2002.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves ).
Abstracts in English and Chinese.
Abstract --- p.1 Page
Scores with Notes:
Chapter 1. --- Quintet for Winds and Piano
Note --- p.2 Pages
Score --- p.30 Pages
Chapter 2. --- Preludes and Fugues for Piano Solo
Note --- p.2 Pages
Score --- p.31 Pages
Chapter 3. --- Variations for String Quartet
Note --- p.2 Pages
Score --- p.9 Pages
Total Duration: 38 minutes

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra.
Yang Jin Fong.
"June 2004."
Thesis (D.Mus.)--Chinese University of Hong Kong, 2004.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.

《紙・驚》與《鼓・箏》 : 褐紫紅色 : 自《彩露》 : 為京腔女中音、中國大鼓和古箏而寫的雙樂章作品 = "Paper. Jolt" and "Gu. Zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-Zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu Zheng, and Percussion (suspended cymbal and vibraphone) = 青瓷色: 自《彩露》: 為降B單簧管, 古箏與敲擊(弔鈸及鋼片琴)而寫 -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet.
"Zhi, jing" yu "Gu, zheng" : he zi hong se : zi "Cai lu" : wei jing qiang nü zhong yin, Zhongguo da gu he gu zheng er xie de shuang yue zhang zuo pin = "Paper, Jolt" and "Gu, zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu zheng, and Percussion (suspended cymbal and vibraphone) = Qing ci se : zi "Cai lu": wei xiang B dan huang guan, gu zheng yu qiao ji (diao ba ji gang pian qin) er xie -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet.
Lee, Kar Tai.
Durations: 8 min.; 4 min.; 4 min.; 10 min.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2009.
Abstracts in English and Chinese.
Cover Page --- p.i
Abstract --- p.ii
Acknowledgements --- p.iv
Table of Contents --- p.iv
"""Paper. Jolt “ and “ Gu . Zheng""《´紙Ø驚》與《´鼓Ø箏》" --- p.1
Carnival《嘉年華》 --- p.18
Celdaon《青瓷》 --- p.35
"Prelude, Passacaglia and Fugue《前奏、巴沙加牙和賦格曲》" --- p.48