Academic literature on the topic 'Multiphonics'

Spectral Immersions: A Comprehensive Guide To The Theory And Practice Of Bass Clarinet Multiphonics is a multi-component thesis that looks into the entire area of multiphonic analysis and composition for the bass clarinet. A literary section of the thesis looks at past publications and the problems associated with using this contemporary technique, in terms of both compositional and performance issues. A theoretical analysis of Type One multiphonics gives an insight into how multiphonics on the bass clarinet work in a more scientific way and their close relationship with the harmonic series. A complete analysis of Type Two multiphonics using past charts and new-found fingerings results in the creation of the new SW multiphonic charts for the bass clarinet. The new SW charts are fully tested by correcting problems in past compositions by means of several student compositional projects at various UK universities. Finally, a new set of études and pieces have been commissioned by composers from the UK and abroad. The results and successes of the pieces and new SW charts are analysed and can be listened to via accompanying audio and data CDs. The results of this thesis provide both performers and composers with an accurate, exhaustive and up-to-date usable publication. Not only does this thesis provide a new set of multiphonic charts, but the addition of compositional examples using multiphonics provides both practice and recital material for performers and useful compositional technique hints and advice for composers wishing to use this resource in the future.

This thesis is part of the result from an explorative venture into understanding how saxophone multiphonics can be used as tools for improvisation and composition. The focus lies partly on how I found these sounds, personalized them and incorporated them into my artistic language, but more importantly, this is an attempt of thinking through art by letting the experience gained from making creative use of accidental occurrences affect future experience in an open-ended artistic process. This is done in two acts, solo-playing and duo-playing. With the solo-playing I listen for what these sounds suggest in themselves, and through this, create open compositions that are embracing their elusive nature. The duo-playing searches for sounds within sounds in a sonic map, constructed from a co-creative artistic process that allows us to zoom in on details, experience deep and spectral listening through vertical musical motion. Apart from the written words and the compositions, the artistic results consist of several recordings, presented and discussed throughout the text together with connected concepts and contexts revolving around saxophone multiphonics, composition and improvisation.<br><p>Komposition: Sonic Map</p><p>Kompositörer: David Bennet &amp; Vilhelm Bromander </p><p>Medverkande: David Bennet, Saxofon. Vilhelm Bromander, Kontrabas </p><p>Konserten är inspelad och bifogas med det skriftliga arbetet. </p>

Rrowzer! is a piece for solo clarinet composed by Eric P. Mandat in 2005. It was premiered at the Oklahoma Clarinet Symposium on June 17, 2005. The composer has stated that he sought in this piece to immediately capture the audience’s attention through intensity and energy. What makes this work distinct is that the composer gives the performer certain freedoms to experiment by means of choosing how many times to repeat various small segments of music. The performance note in the score implores: “Experiment with a wide variety of repetition lengths – it’s your opportunity to build unique structures.” The following thesis consists of three sections. The introduction and Chapter 1 will explore the influences and inspiration behind the piece, as well as consider biographical background information about the composer. Chapter 2 will provide a musical and structural analysis of the piece, focusing on three main compositional aspects: the organic development of the piece through the transformations of a single pitch-class cell with emphasis on the interval content of that sonority; long-range voice leading and linear connections articulated by adjacent quarter tones; and the relationships of the four climactic moments of the piece with one another.

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-20T16:08:13Z No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:41:00Z (GMT) No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2016-12-26T12:41:00Z (GMT). No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>In this research we address multiphonics sounds in bassoon. Our objective was to investigate technical support for the performance of Cantares para Airton Barbosa by Aylton Escobar, because the lack of knowledge about the technique for the emission of these sounds precludes this performance. We conducted primarily a bibliographic study of methods that address the technique for issuing multiphonics sounds. Later we proceeded a technical and interpretive study of Escobar's work, based on studies of the previous phase. Finally, our goal was to diagnose the real technical extensions required for the issue of multiphonics. For this, we compared the instructions for fingering, embouchure and air pressure of Weissenborn´s method 1887, the reference to traditional bassoon technique, with the instructions found on modern methods, which address the multiphonics, as the methods of Bartolozzi (1967), Penazzi (1971), Gallois (2009) and Sampson (2004). After conducting this research, we concluded that the materials presented here, provide sufficient technical support for the performance of multiphonics present in Cantares. However, we observed different results in different types of materials, which shows the need to test by the performer. We also conclude that for the issue of multiphonics sounds there were technical extensions fingering, at the mouth and in the field of air pressure in relation to the Weissenborn instructions for the performance of the bassoon.<br>Nesta pesquisa abordamos sons multifônicos ao fagote. Nosso objetivo foi investigar e discutir subsídios técnicos para a performance da obra Cantares para Airton Barbosa do compositor Aylton Escobar, pois o desconhecimento sobre a técnica para a emissão desses sons impossibilita esta performance. Realizamos primeiramente um estudo bibliográfico envolvendo métodos que abordam a técnica para a emissão dos sons multifônicos. Posteriormente procedemos um estudo técnico-interpretativo da obra de Escobar, fundamentado nos estudos da fase anterior. Por fim, nosso objetivo foi diagnosticar as reais extensões técnicas requeridas para a emissão dos multifônicos. Para isso, comparamos as instruções relativas a dedilhado, embocadura e pressão de ar, do método de Julius Weissenborn, de 1887, referência da técnica tradicional do fagote, com as instruções encontradas nos materiais modernos que abordam os multifônicos, como em Bartolozzi (1967), Penazzi (1971), Gallois 2009 e Sampson (2014). Após a realização dessa pesquisa, pudemos concluir que os materiais apresentados aqui, oferecem subsídios técnicos suficientes para a performance dos multifônicos presentes em Cantares. Porém, observou-se diferentes resultados em diferentes tipos de materiais, o que mostra a necessidade de testes por parte do performer. Concluímos também que para a emissão dos sons multifônicos houveram extensões técnicas no dedilhado, na embocadura e no domínio da pressão do ar, em relação às instruções de Weissenborn para a performance do fagote.

This thesis introduces the modern flute techniques used in the solo flute piece Laconisme de l’aile by Kaija Saariaho. The purpose is to find ways to excecute the techniques so that they serve the music in the best way. The techniques are divided in five groups based on how they are excecuted: effects made with the mouth, changing the timbre, multiphonics, effects made by fingers and diffenent sounds by blowing. As an attachment there is a recording of the piece and how the techniques sound in the context. At the end of the process it has been evaluated, if the modern techniques help with the ordinary flute playing as well.<br><p>A recording of Laconisme de l'aile by Kaija Saariaho</p>

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.