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Dissertations / Theses on the topic 'M-782'

Author: Grafiati

Published: 29 July 2024

Last updated: 19 July 2025

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1

Williams, Jeremy Huw. "Serialism, modality and poetic rhetoric in Alun Hoddinott's Five Poems of Gustavo Adolfo Bécquer, Op. 152 no. 2 (1994)." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/49267/.

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The last fifteen years of Alun Hoddinott’s life witnessed an unprecedented outpouring of works for solo voice, which seemed to coincide with a notable change of style – towards simpler textures, melodic lyricism and a greater concision of musical thought. This thesis examines the context and nature of this apparent change of style, focusing on text setting, poetic rhetoric, and harmonic and rhythmic vocabulary, with particular reference to the song cycle Five Poems of Gustavo Adolfo Bécquer, Op. 152 no. 2 (1994). Chapter 1 contextualizes the vocal music since 1994 within Hoddinott’s oeuvre, co

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2

Rowden, Clair. "Massenet, Marianne and Mary : Republican morality and Catholic tradition at the opera." Thesis, City University London, 2001. http://openaccess.city.ac.uk/7611/.

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The social and political practice of the French Third Republic resonated with a variety of contrasting ideologies which were reflected in cultural products and their reception, including opera. The operas of Jules Massenet, the most successful Parisian opera composer of his time, provide a good example of this kind of cultural mediation. A close examination of Massenet's operas will thus allow a re-evaluation of the complex interaction between art and society in musical culture at the end of the nineteenth century in France. Representative case-studies have been chosen, and the works are read

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3

Bohrer, Joceli Cirilo Soares. "Intonational strategies in ensemble singing." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7645/.

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The aim of the research was to find out about intonational strategies in the performance situation. The singing voice was chosen as the appropriate subject for experimental work, due to its superior capability to define pitch as compared to other musical instruments. Ensemble singing was also required, as harmonic context may be important in the clarification of the issue, Chapter One, as an introduction to the subject, considers tuning systems and temperaments and briefly reviews the experimental literature on the subject. It also states the aim of the research. Chapter Two focuses on the the

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4

Groves, Stephen. "The sound of the English picturesque in the late eighteenth century : native vocal music and Haydn's The Seasons." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367391/.

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In eighteenth-century England, the art-forms of painting, poetry and gardening were often collectively labelled, the ‘sister arts’. The increasing interest taken in the apprehension and appraisal of scenes of English landscape by artists in these fields, alongside an emerging taste for nature ‘tourism’, gave rise to the term, the ‘picturesque movement’. English music was seldom considered as belonging to this ‘sisterhood’ or discussed as a medium for conveying artistic expressions of national scenic beauty. When the picturesque was discussed alongside music it was adopted as an analogy to expl

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5

Meredith, Sharon. "Tuk in Barbados : the history, development and recontextualisation of a musical genre." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/91318/.

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This thesis is the first major investigation of tuk and documents an important part of Barbados' heritage. It also opens up opportunities for further research to be undertaken in Barbadian music and in related fields elsewhere in the Caribbean region. This thesis explores the history, development and recontextualisation of Barbadian tuk music. The history of Barbados is examined before considering Barbadian culture and how a Barbadian national identity was increasingly sought during the twentieth century, particularly after Independence. Music during the period of slavery, African music and Br

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6

Foschi, Elia <1975&gt. "Studio e validazione di una nuova metodica per la valutazione dello stato di forma." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/782/.

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We observed 82 healthy subjects, from both sexes, aged between 19 and 77 years. All subjects performed two different tests: for being scientifically acknowledged, the first one was used as a reference and it was a stress test (CPX). During the entire test, heart rate and gas exchange were recorded continuously; the second, the actual object of this study, was a submaximal test (TOP). Only heart rate was recorded continuously. The main purpose was to determinate an index of physical fitness as result of TOP. CPX test allowed us to individuate anaerobic threshold. We used an incremental pr

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Foschi, Elia <1975&gt. "Studio e validazione di una nuova metodica per la valutazione dello stato di forma." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/782/1/Tesi_Foschi_Elia.pdf.

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We observed 82 healthy subjects, from both sexes, aged between 19 and 77 years. All subjects performed two different tests: for being scientifically acknowledged, the first one was used as a reference and it was a stress test (CPX). During the entire test, heart rate and gas exchange were recorded continuously; the second, the actual object of this study, was a submaximal test (TOP). Only heart rate was recorded continuously. The main purpose was to determinate an index of physical fitness as result of TOP. CPX test allowed us to individuate anaerobic threshold. We used an incremental pr

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8

Holmquist, Kristin, and Katarina Nygren. "Balanced Scorecard på gott och ont : kriterier för utvärdering av BSC's effekter." Thesis, Linköping University, Department of Management and Economics, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-782.

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<p>Bakgrund: Finansiella mått har i alla tider använts av företag för att avläsa resultat. På senare tid har även vikten av mått på icke finansiella faktorer uppmärksammats. Som en följd har resultatmätningssystemet Balanced Scorecard vuxit fram. Balanced Scorecard sägs bland annat leda till förbättrad kommunikation och information inom organisationerna samt en ökad grad av måluppfyllelse. Trots den stora litteraturmängden rörandes Balanced Scorecard saknas information om vad som krävs för att organisationer skall kunna utvärdera om de väntade effekterna uppstår vid införandet av ett styrkort.

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9

Williams, Nicholas Allan. "Strategies of postminimalism in my recent music." Thesis, University of Huddersfield, 2009. http://eprints.hud.ac.uk/id/eprint/7515/.

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This commentary will consider how I have developed and applied a number of compositional techniques, particularly in the area of rhythm and pulse, which I situate in relationship to postminimalism. In chapter 1 I contextualise my music by considering some manifestations of postminimalism, give the background to the development of my present aesthetic approach, and look at some definitions of postminimalism in order to clarify my own position in relation to both American and European (primarily Dutch) postminimal composition. In chapter 2 I examine the main aspects of my musical language, focus

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Parsons, John Lewis. "Stylistic change in violin performance 1900-1960 : with special reference to recordings of the Hungarian violin school." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55396/.

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This thesis describes and analyses stylistic change in violin performance (c. 1900-1960) by examining the so-called Hungarian violin school as an exemplar of stylistic change in this period. The thesis uses examples from both written and recorded sources to examine shifts in the use of expressive fingering, vibrato and flexibility of rhythm and tempo. The sources used include: performing editions; treatises; and recordings. In respect of the study of stylistic change, the thesis argues that recordings provide a valuable research resource for assessing the theoretical use of expressive devices,

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Hemsley, J. D. C. "Henry Bryceson (1832-1909) organ-builder and early work in the application of electricity to organ actions." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55395/.

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That France was the undisputed leader in the application of electromagnets to the pipe-organ, is confirmed. C.S. Barker was the builder of the first electric organ at Salon, Bouches due Rhone, in 1866, but the honour for the invention must be accorded to Pierre Stein for his prophetic patent of 1852. Albert Peschard's electric action patents of 1862-3 represent a defining moment when electric action became the basis for a reality that was exploited by Barker until 1870. Thereafter, it fell to the Brycesons to continue the development of the Peschard-Barker system, but the challenges proved too

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Soga, Hector Ian. "The sacred vocal works of Gottfried August Homilius (1714-1785) with particular reference to his St. Mark Passion." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/3961/.

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The chance discovery of a composer of whom the present writer had previously been unaware; who was allegedly a pupil of J.S. Bach; whose list of compositions occupied no small space in modern lexicographical entries, let alone in Eitner's now largely obsolete catalogue; who, according to Feder in his article entitled Decline and Restoration in Protestant Church Music - a History, though highly regarded in his day, had not received detailed consideration: such were the factors which gave impetus to the present day. No sooner was that study underway than it transpired that others, too, had been

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13

Davidson, Neil. "Composition in improvisation : forms and otherwise." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2301/.

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This is a folio of compositions that interferes with composition and improvisation in practice and in theory. A resistance to theme and content is countered by proposing a very broad conception of form that brings into play anthropological and philosophical examples as well as a questioning of traditional musical forms. The pieces in general propose ways of composing and playing otherwise. The scores are interspersed with texts which engender relationships and patterns of thought pertinent to the workings of the pieces such that a critical position is articulated without resorting to longwinde

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McAulay, Karen E. "Our ancient national airs : Scottish song collecting c.1760-1888." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1242/.

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This thesis explores the musical dimension of Scottish song-collecting between the years c.1760 and 1888. The collections under investigation reflect the general cultural influences that bear on their compilers, starting with those associated with what we now call the Scottish Enlightenment, and continuing with those we associated with developing nineteenth-century romanticism. Building upon the work of Harker on the concept of ‘fakesong’, and of Gelbart on the developing idea of ‘folk’ versus ‘art’ music, I suggest that the sub-title of James Johnson’s Scots Musical Museum, ‘Our Ancient Natio

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15

Kang, Ja Yeon. "Robert Schumann's notion of the cycle in Lieder Und Gesange Aus Goethes Wilhelm Meister, Op. 98a And Waldszenen, Op.82." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1124/.

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Pasoulas, Aki. "The perception of timescales in electroacoustic music." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1155/.

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The purpose of this doctoral research is to explore the nature and perception of timescales in electroacoustic music, to examine modes of experiencing time, and to discover a method that uses this knowledge to the advantage of the composer. Although the main focus is on acousmatic works, much of the research presented here has a broader scope and is relevant to music and sound art in general. This thesis is initially inspired by Deleuze’s philosophical views on time to discover relationships between the flow of time and music, and continues to investigate time perception by exploring prevalent

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Lim, Lemy Sungyoun. "The reception of women pianists in London, 1950-60." Thesis, City University London, 2010. http://openaccess.city.ac.uk/1210/.

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This study investigates the reception of women pianists in London in the decade 1950-60, based on reviews published in three music journals, Music and Musicians, Musical Opinion, The Musical Times, and one national daily newspaper, The Times. In the eighteenth and nineteenth centuries, women pianists, both amateur and professional, suffered from the notion that women were innately unable to engage with a superior art form such as music: thus argue scholars including Katharine Ellis, Richard Leppert, Ruth Solie and Judith Tick. Yet, such attitudes did not prevent a strong tradition of women pia

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Camara, Queiroz de Souza Luciana. "Music and subjectivity in seventeenth-century free-style harpsichord music." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3328/.

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The present study explores the relationship between the seventeenth-century free-style repertoire for the harpsichord and the concept of subjectivity in early modern Europe. It involved considerations about the socio-historical role of music, the philosophic discussions on subjectivity, and cultural issues of the period. The reflection about the content of the works and the possible connection points between this music and subjectivity was centred on the concept of time in its musical, philosophic and cultural dimension. For the investigation of the textual and performative aspects of the musi

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Nelson, Simon John. "Melodic improvisation on a twelve bar blues model : an investigation of physical and historical aspects and their contribution to performance." Thesis, City University London, 2001. http://openaccess.city.ac.uk/7610/.

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"Anything made by man, no matter how many varieties it assumes, and how much of the superhuman it seems to contain, must reveal its secret to the close observer." Paul Hindemith (1942: 176). "Are you one of those guys who wants to put crutches under my ass?" Lonnie Johnson (Keil 1966: 35). It is the aim of this thesis to define a musical genre by showing how, in the realisation of an improvisation, two key elements - the physical layout of a musical instrument and human movement patterns - are combined to produce music. This thesis takes as a model the twelve bar blues form, and examines the a

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20

Sefchovich, Jorge Rodrigo Sigal. "Compositional strategies in electroacoustic music." Thesis, City University London, 2003. http://openaccess.city.ac.uk/7649/.

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This thesis accompanies the five electroacoustic pieces of the portfolio and aims to discuss compositional strategies. The pieces were designed with the intention of exploring ways of creating relationships between musical materials of differing natures. Structuring methods are outlined using examples from two acousmatic and three mixed works (for solo instrument and electroacoustic sounds). Analyses from a macro- and micro-perspective aid in describing the principal elements of musical discourse and the personal methods of achieving musical coherence. Three stages of the compositional process

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Henriksen, Frank Ekeberg. "Space in electroacoustic music : composition, performance and perception of musical space." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7653/.

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This thesis concerns space as an essential element of expression and communication in electroacoustic music. It shows that musical space is a complex term which refers to many different aspects of composition, performance and perception of electroacoustic music. It is argued that space is a compound musical element which can be integrated into the compositional structure to a degree where space becomes the primary canier of meaning in the work, and that the creation and interpretation of this meaning is a result of learned cultural aspects of interpersonal communication in terms of personal sp

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Holmes, Patricia A. "The performer's experience : psychological, philosophical and educational perspectives." Thesis, City University London, 2011. http://openaccess.city.ac.uk/7791/.

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This portfolio represents a body of original research into components of elite erformance that had hitherto not been investigated. There are three main categories of focus. New perspectives on learning and memorisation, and also expressive use of timbre in elite performance are offered. Additionally, a substantial body of work is concerned with investigating whether certain psychological characteristics may figure as determinants of the ability to perform at elite level. The submission is strengthened by collaboration with other disciplines - predominantly sports psychology and psychoacoustics

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Dean-Lewis, Tim. "Playing outside : excursions from the tonality in jazz improvisation." Thesis, City University London, 2001. http://openaccess.city.ac.uk/8397/.

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This thesis examines strategies employed by jazz musicians when they temporarily leave the underlying tonality whilst improvising. The Introduction defines the use of terms such as "outside" and examines texts from the literature. Further. a chronology of the evolution of "playing outside" is proposed. Notation and analysis of twenty short excerpts is given in Chapter 1. along with summary material. This summary material groups "out' playing into three sets: motivic. scalar and spatial. Issues such as common scale choices. placement and the use of compensatory material are also examined. Chapt

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d'Escrivan, Rincon Julio Cesar. "Creative intuition as a compositional strategy in electroacoustic music." Thesis, City University London, 1991. http://openaccess.city.ac.uk/8711/.

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Creative Intuition can be said to be the motivating force behind the compositional act. To harness it the composer must develop those musical resources which allow him to deal with inspiration, when it comes, as well as developing the techniques to elaborate upon the inspiration received and remain true to his original vision. In this compositional folio, I have tried to highlight different ways in which I as a composer deal with musical inspiration and the development of musical ideas. For this purpose, I begin by considering the moment in time in which I have had to write the pieces included

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Hassiotis, Kostis. "A critical edition of the '48 Studies for Oboe, Op.31 by Franz Wilhelm Ferling (1796-1874) : based on original historical evidence and viewed within the context of the evolution of didactic material for oboe, with particular reference to nineteenth-century performing practices." Thesis, City University London, 2010. http://openaccess.city.ac.uk/8725/.

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The present thesis is structured in an Introduction and four chapters. The Introduction discusses the originality of the subject and includes all available historical information concerning Ferling and his work as a performer and composer, and a detailed description of all of his known compositions. A substantial part of the information presented in the discussion of Ferling's compositions, and concerning their citations in nineteenth-century journals, is the result of original research and criticism. There is also reference to the importance of the 48 Studies in modern instrumental training.

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Brownell, Andrew. "The English piano in the Classical period : its music, performers, and influences." Thesis, City University London, 2010. http://openaccess.city.ac.uk/12134/.

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Despite an abundance of research and literature on the Viennese piano in the Classical period, the influential role of the English instrument and its literature – in terms of keyboard idiom and compositional style – still remains something of a blind spot. This thesis attempts to address this imbalance by providing an overview of the most significant literature of the period, guided by the premise that the characteristics of the English instrument led to a style of keyboard writing that is distinct from the Viennese Classical style. The advent of the piano in England is traced, establishing th

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Howell, Jocelyn. "Boosey & Hawkes : the rise and fall of a wind instrument manufacturing empire." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16081/.

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For over 150 years the names Boosey and Hawkes dominated the British music scene, at first independently, and from 1930, in response to the difficult trading conditions of the Depression, as a single firm – Boosey & Hawkes. Although it was run as one company it comprised two divisions – the publishing business and instrument manufacturing. This thesis examines the history, role and significance of Boosey & Hawkes and its associated companies as musical instrument makers. Acquisition of new firms played an important part in business expansion, and particular focus is given here to the complex a

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Weissenbrunner, Karin. "Experimental turntablism : live performances with second hand technology : analysis and methodological considerations." Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/19919/.

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In experimental turntablism, sound artists and musicians encounter not only the pre-recorded sound of the vinyl records, as is common in DJ culture and hip hop turntablism, but also accentuate the materiality of the records and turntables themselves. The thesis shows that the record player is itself the key concept within which each experimental turntablist unfolds an intricate dialogue between mediation and materiality. Through these media-specific practices, these sound artists raise to the surface the fact that our listening habits tend to dissolve the reproduction medium from our awareness

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Bhunnoo, S. A. "What can a sonic assemblage do? : a biopsychosocial approach to post-acousmatic composition." Thesis, City, University of London, 2018. http://openaccess.city.ac.uk/20402/.

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Thinking and sounding are two terms which complicate one another, hence this thesis follows two trajectories each of which make an original contribution to knowledge. Part 1 (thinking sound) proposes to reground composition away from historically authoritative humanist models, instead suggesting a biopsychosocial approach for a post-acousmatic music. I elaborate a set of models and key concepts, chiefly an eliminativist account of the listener-sound relation; neurocognitively discrete musical domains and dimensions of the Kmatrix; model-based reasoning through a Reception-Interpretation-Action

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Cole, William Davy. "Expanded musical form." Thesis, City, University of London, 2018. http://openaccess.city.ac.uk/20829/.

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This project presents a model of expanded musical form. Arguing that music’s expanded field is a field of experiences, rather than of discrete things, it sets out an approach to composition that centres not on the creation of aesthetic works, but on supporting an aesthetic attitude. Integrating theory and practice, this research endeavours to give definition to an attitude that apprehends music as experience. Under this attitude, the perceiver assumes no distance from the perceived as she produces the content of her musical experience in and through her dynamic bodily interactivity. This proje

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Sylvanus, E. "Nollywood film music : shades of identity." Thesis, City, University of London, 2018. http://openaccess.city.ac.uk/19927/.

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Nollywood is the branded name of Nigeria’s unique and globally recognised film industry. For over two decades (since 1992), the products of mainstream Nollywood film and music practitioners have been continually presented as a reflection and representation of the Nigerian society. Yet those creative and cultural underpinnings in Nollywood film music––processes, approach, symbology, commerce, and identity––have remained undocumented. This ethnomusicological research aims to establish verifiable evidence of Nigerian musical culture in the actions and inactions, assertions, and subversions within

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Hindmarsh, David. "A portfolio of acousmatic compositions." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/758/.

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This portfolio charts my development as a composer during a period of three years. The works it contains are all acousmatic; they investigate sonic material through articulation and gesture, and place emphasis on spatial movement through both stereophony and multi-channel environments. The portfolio is written as a personal journey, with minimal reference to academic thinking, exploring the development of my techniques when composing acousmatic music. At the root of my compositional work is the examination and analysis of recorded sounds; these are extrapolated from musical phrases and gestura

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Shaw, Martyn. "The 'Nicholsonian effect' : aspects of 'tone' in early nineteenth-century flute performance practice in England, with particular reference to the work of Charles Nicholson (1795-1837)." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/4923/.

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Charles Nicholson (1795-1837) was one of the most important figures in the evolution of the flute. His influence on the design of the Boehm flute is widely acknowledged. However, the contribution he made as a catalyst for developments in flute performance practice in early nineteenth-century England, is not. Such was Nicholson’s reputation for variety of tone in his playing, that the term ‘Nicholsonian effect’ was coined. This research examines the tone of the flute, and uniquely places it within the context of the interrelationship between performance, pedagogy and flute-design in Nicholson’s

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Hutchins, Charles Celeste. "Portfolio of compositions." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3919/.

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This portfolio of 19 compositions includes several short commissions intended to reach new listeners and address issues of sustainability and copyright. Two of the pieces are studio works, one of which makes use of field recordings and SuperCollider and the other of which is almost entirely analogue synthesis. Three pieces are performance works. One is a combination of live realisation and gestural control, designed to play in front of an audience of hackers. One is an N-channel work, designed for live realisation on the BEAST system. The last is an excerpt of live analogue synthesiser improvi

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Spearing, Robert. "A portfolio of compositions submitted for the degree of Doctor of Philosophy in Musical Composition." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/865/.

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Moncada, Jorge Gregorio García. "Ukhu pacha and La historia de nosotros : electroacoustic music composition portfolio." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4867/.

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This composition portfolio comprises two large musical works which explore non-Western musical instruments in electroacoustic music contexts. The fututos and the maguaré, two fundamental signalling and ritual instruments from the Latin American highlands and rain forests, reside in the cultural collective memory of two native nations as paramount archetypal sounds. Cultural values around the instruments such as symbology and ritual functions were analysed whilst constructing the contextual soundworld that hosts the material within the works. Two large electroacoustic works, ukhu pacha and La h

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Harman, Chris Paul. "Studies in instrumentation and orchestration and in the recontextualisation of diatonic pitch materials (Portfolio of Compositions)." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3395/.

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The present document examines eight musical works for various instruments and ensembles, composed between 2007 and 2011. Brief summaries of each work’s program are followed by discussions of instrumentation and orchestration, and analysis of pitch organization. Discussions of instrumentation and orchestration explore the composer’s approach to diversification of instrumental ensembles by the inclusion of non-orchestral instruments, and redefinition of traditional hierarchies among instruments in a standard ensemble or orchestral setting. Analyses of pitch organization detail various ways in wh

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Andrikopoulos, Dimitrios. "A portfolio of compositions." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4704/.

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This portfolio contains five works written for different instruments, ensembles and combinations of acoustic instruments with live electronics and fixed media, composed during the period between 2008 and 2012, together with a commentary. A brief presentation of each work’s programme is presented, followed by a discussion of the instrumentation, orchestration and the composer’s approach to those aspects of each individual work. Finally, a detailed analysis of the rhythmic, pitch and harmonic organization in every individual piece will be discussed thoroughly, as well as the various ways of deve

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Guillamat, Julien. "A portfolio of electroacoustic compositions." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5085/.

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This Portfolio is formed of 9 compositions that have been selected in order to reflect the variety of the music I write. It is a journey through my personal approach to sound and writing music using one voice but several compositional techniques. It includes one stereo and four 8-channel acousmatic compositions; they constitute the core of my thesis. Two works are written for both live instruments and electroacoustic medium, focussing on the performance aspect. One stereo acousmatic piece has been written for a choreographer; it is the fruit of a very productive collaboration. The final piece

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Bumstead, Eric Walter Reginald. "A portfolio of electroacoustic and live electronic compositions with research into stochastic synthesis." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/894/.

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This thesis includes a portfolio of electroacoustic and live electronic compositions consisting of multichannel fixed media works and pieces that include instruments, real time computer processing and electronic interfaces. It also details research into stochastic synthesis and its application in music composition. Work carried out in real-time processing of multichannel signals including convolution, spatialisation, as well as decorrelation from one to many channels, sample accurate looping and various sample accurate control systems, is also included in this thesis. Pieces: In a Cage Spinnin

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Baracskai, Zlatko. "Composition portfolio." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1739/.

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This is a portfolio of ten compositions composed at the Electroacoustic Music Studios at the University of Birmingham, Audio Research Lab at the Birmingham City University and my home studio during the period October 2007 – September 2010. The commentary comprises a set of philosophical considerations about my compositions and intent for creation. Further chapters are dedicated to compositional techniques, related traditions and piece specific documentation. A recent CD release from ‘diobel kiado’ publishing house is attached which contains two of the presented compositions. The rest of the pr

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Shih, Pei-Yu. "Portfolio." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5022/.

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Cormac, Joanne. "Liszt as Kapellmeister : the development of the symphonic poems on the Weimar stage." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3966/.

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Little research has been carried out into Liszt’s work as Kapellmeister of the Weimar Court Theatre. The nature and extent of his duties, his involvement in productions, festivals and performances, and his relationships with others within the administration has yet to be examined in detail, let alone the implications of all of this for his music. This thesis draws on a wealth of primary source material to provide new insight into this area. It begins by drawing a general picture of Liszt’s work in Weimar. Then, it attempts a detailed ‘re-historicisation’ of four of Liszt’s Weimar symphonic poe

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Scardanelli, Simon. "A portfolio of electroacoustic and acousmatic compositions." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/914/.

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A portfolio of electroacoustic and acousmatic compositions realised through a variety of audio and audio-visual media, and with a particular emphasis on using speech as compositional material. The use of speech in compositions raises questions of political intent and responsibility, and these are addressed. The challenges of composing electroacoustic works for theatre, film and for a site specific installation are also discussed. The use of electroacoustic principles in the production of rock music is examined with reference to my own works in this genre. List of files: PDF: Commentary MP3: A

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Lorway, Norah. "A portfolio of fixed electroacoustic and live laptop works." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5183/.

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This PhD thesis includes a portfolio of electroacoustic and live electroacoustic compositions carried out at the electroacoustic music studios at the University of Birmingham. The portfolio consists of fixed multichannel and stereo works as well as a piece for solo live laptop performance written using max/msp and the supercollider programming language. I will also discuss my work with laptop performance and its influence on my compositional output during this Ph.D.

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Carpenter, James John. "Portfolio of compositions." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4182/.

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A portfolio of acousmatic and mixed compositions for stereophonic and multichannel formats. Particular focus is given to acousmatic music’s relationship with materials and features typically found in commercial dance genres. The portfolio also includes development of Max/MSP tools for various functions,including spatialisation of sound, generation of material and also for performance,which is integral to one of the portfolio’s later works.

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Bertoglio, Chiara. "Instructive editions of J.S. Bach's "Wohltemperirtes Klavier" : an Italian perspective." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3357/.

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This thesis defines the theoretical, sociological, historical, cultural and practical framework of “instructive editions” (IEs). The approach adopted evaluates, for the first time, the most significant discussions found in previous literature, realising a comprehensive overview of the issues involved. The principles expounded in the theoretical chapters are verified in practice through application to the specific case of Bach’s WTK and its role in Italy: here, in particular, the thesis dissects the “myth” of Thalberg’s edition and introduces a hitherto overlooked edition by Lanza. Careful comp

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Seago, Robert. "A folio of musical compositions." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/2823/.

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The folio of compositions submitted here consists of the six large-scale works that I have completed between the years 1994 and 2003. Over the course of this nine-year period I hope that the folio demonstrates a consistent and constantly evolving thread of techniques and processes in spite of the substantial developments in my overall compositional style, intentions and interests. The works make use of a wide and unconventional range of source materials and instrumental combinations indicative of the numerous and diverse musical styles and genres with which I have been involved. The two areas

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Szwed, Katarzyna Zofia. "A portfolio of compositions." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5731/.

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A portfolio of compositions with additional commentary and a contextual chapter. In the introduction chapter, particular focus is given to the individual approach to elements such as form, structure, dynamism, stasis, texture, gesture, silence, unity, diversity and meaning in music, as well as its context in the musical tradition. The incorporation of this specific approach is described in the following chapter (Portfolio) where each of the compositions is given a commentary in relation to the above-mentioned terms and in relation to a broader cultural context.

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El-Turk, Bushra. "Bleeding through… : compositional processes in the integration of Middle Eastern and Western art music." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7900/.

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This thesis consists of a portfolio of 10 compositions accompanied by a written commentary with audio and video recordings of my works. These compositions span a wide variety of instrumentations from large orchestral works to solo instrumental works, of both Western and Eastern traditions, as well as vocal and live art installation pieces. Throughout the commentary I explore the continuum of how Eastern traditional idioms and Western art music play a role in the creation of my musical language. This includes an overview of the history of bi-cultural integration and an exploration of the motiva

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