Relevant bibliographies by topics / Orchestra/chamber music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Orchestra/chamber music'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Orchestra/chamber music"

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Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer
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Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.

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URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).
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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.

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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 197
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Golovashych, E., V. Skakun, and Y. Kyrychenko. "«ORCHESTRA CLASS» IN THE EDUCATIONAL COMPONENTS SYSTEM OF THE PROFESSIONAL TRAINING OF SECOND-LEVEL HIGHER EDUCATION APPLICANTS MAJORING IN «MUSIC ART»." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 173–83. http://dx.doi.org/10.33989/2226-4051.2022.26.273175.

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The article deals with the peculiarities of ensemble playing in groups of orchestral instruments as part of an orchestra. The authors of the article show that there are a number of specialized educational institutions in Europe, where performers are divided into orchestral instrumentalists, chamber performers, and soloists. According to these rather specific specializations, there is a considerable list of highly specialized occupations, because not every orchestra player will be able to become a teacher or a performing soloist. Future artists of the orchestra in separate groups of instruments
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Tulyantsev, Andrey. "Harry Logwin as a symbol of the violin Dnepropetrovsk region." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 16–24. http://dx.doi.org/10.33287/222030.

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The purpose of the article is to study the creative person of Harry Logvin. He is the only Peopleʼs Artist of Ukraine, as a violinist, who lived and worked in our region. Garry Logvin was concertmaster of the Dnepropetrovsk Opera and Ballet Theater, teacher, co-founder of the private new chamber orchestra «Seasons». The scientific novelty of this article has the following vectors: approved the concept „accompanist of the orchestra of the Dnepropetrovsk Opera and Ballet Theater”, a study is being made of the relationship between internal and external form and how the master performed works for
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Manalu, Yohanes Tanaka Pangihutan, and Jayanti Mandasari Sagala. "Komposisi Programma-Representatif dengan Konversi Idiom Musik Batak Toba dan Chromatic Mediant." INVENSI 9, no. 2 (2024): 137–51. https://doi.org/10.24821/invensi.v9i2.9477.

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Pernikahan merupakan peristiwa penting dalam kehidupan manusia karena menyatukan dua karakter dengan latar belakang yang berbeda. Pria, wanita, dan penyatuan pria dan wanita adalah tiga bagian dari pernikahan. Ketiga bagian ini menjadi representasi tiap bagian dalam penciptaan komposisi musik. Sifat atau karakter dari pria, wanita dan penyatuan pria dan wanita menjadi ekstra-musikal dalam pengolahan komposisi musik programma. Metode penciptaan pada komposisi musik ini menggunakan beberapa tahapan, yaitu eksplorasi, eksperimentasi, pengaplikasian dan penyajian karya. Komposisi ini merupakan mus
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Petroudi, Georgia. "The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene." Studia Musicologica 61, no. 1-2 (2021): 149–59. http://dx.doi.org/10.1556/6.2020.00011.

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The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to dem
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Byron Adams. "Sinfonietta pro maly´ orchestr = for chamber orchestra (review)." Notes 65, no. 3 (2009): 575–77. http://dx.doi.org/10.1353/not.0.0107.

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Vernia Carrasco, Ana Mercedes. "INTERVIEW ROIT FELDENKREIS." ARTSEDUCA 29, no. 29 (2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.

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 Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor.
 Prizewinner at the London Classical S
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Troglauer, April, and Anna Morrison. "Using Chamber Music and Reflection to Foster Student Engagement in Orchestra." Music Educators Journal 111, no. 1 (2024): 50–57. http://dx.doi.org/10.1177/00274321241275616.

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How can orchestra teachers diversify curricula to engage young musicians in project-based learning experiences that build their musicianship and confidence? This action research study explores how the author fostered project-based learning experiences that incorporated student reflection and assessment within chamber music ensembles. By incorporating opportunities for students to build skills through chamber music ensembles, music teachers can foster students’ engagement, develop students’ confidence, and improve large-ensemble performances. Included as well are recommendations for implementin
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Dissertations / Theses on the topic "Orchestra/chamber music"

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Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

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<p> <i> Ondo</i> was written for my grandmother&rsquo;s 88th birthday. The composition comprises six sections based on a popular folksong, called &ldquo;<i>Tanko-Bushi</i>,&rdquo; which can be heard in every Japanese town during the <i>Bon</i> festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. &ldquo;<i>Tanko-Bushi</i>&rdquo; became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms s
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Moura, Eli-Eri Luiz de. "Nocturnales : for chamber orchestra." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23443.

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v.1. Musical composition -- v.2. Analysis.<br>In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decis
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McManaman, Steve. "High wire : for chamber orchestra." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59600.

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The way I approached this analysis was to start with two general statements, one on the form and the other on the harmony. This was so the reader could get a sense of the direction of the piece. Then I did a fairly detailed analysis of the introduction since most of the ideas originate from there. The rest of the piece is discussed in less detail, but occasionally there were places that needed a little more detailed explanation. In the postscript I describe some of my influences.
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Yamanaka, Keiko 1970. "X : for chamber orchestra (1998)." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21497.

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X is a composition for a chamber orchestra with a duration of approximately 13'30&Prime;. The title X (read as "cross") refers to a cross-weave pattern created by superimposing the trills and written-out tremolos in the piece. While the trills and tremolos are used throughout the piece to create a sense of textural variety, they have an important function in controlling the formal structure of the piece. The texture, which is one of the important features of the composition, makes the overall form apparent.
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Wozniak, Trevor Mathew. "Four Fluctuations for Chamber Ensemble or Chamber Orchestra." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291050505.

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Poteat, Angelique M. "Spring Grove for chamber orchestra." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322411.

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Amstutz, Scott Anthony. "Mountain Views for Chamber Orchestra." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333460.

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Mountain Views for Chamber Orchestra is a three-movement piece that evokes various geographic and aesthetic attributes of the Catalina Mountains in Tucson Arizona. It makes use of musical elements such as time, theme, color/timbre, and texture from the chamber ensemble that are conducive to the evocation of contours, colors, and polyphonies necessary for the images found in the work. "Early Morning Clouds Descending on the Catalinas," the first movement of Mountain Views depicts the picturesque Catalinas as they are often seen in the mild winter mornings of Tucson. The slow introduction convey
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Omelchenko, Stas. "Concerto for Organ and Chamber Orchestra." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5032.

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This composition proposes and implements a way in which to incorporate the pipe organ into a contemporary instrumental setting. Considering the instrument's wide use in concert halls and its popularity with contemporary music, much of the timbre-based music has evaded incorporating it into its settings; for one reason or another, there are currently no timbre-based works composed for organ and chamber orchestra. By using the process of spectral analysis, this timbre-based composition demonstrates one possible way of doing so by investigating timbre similarities and differences between selected
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Poston, Paul W. "Chamber Symphony." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731175.

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Lynch, Graham Michael. "Ph.D. in composition, consisting of 7 works and a commentary on them." Thesis, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314167.

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Books on the topic "Orchestra/chamber music"

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Basral, Akmal Nasery. Simfoni untuk negeri: Twilite Orchestra dan Magenta Orchestra. Gaby Bakrie, 2011.

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1954-, Page Tim, and Coppock Bruce, eds. 50 years of music: The Saint Paul Chamber Orchestra. Nodin Press, 2009.

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Scriabin, Aleksandr Nikolayevich. Scriabin settings: For chamber orchestra. GunMar Music, 1992.

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Benjamin, George. At first light: For chamber orchestra. Faber Music, 1985.

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Schwartz, Elliott. Four American portraits: Chamber orchestra (1985). Norruth Music, 1986.

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Litschauerová, Nina. Slovenský komorný orchester, 1960-2000: Slovak Chamber Orchestra, 1960-2000. Slovenská filharmónia, 2000.

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Zappa, Enric Andrew. Wendling Farm: A short story : for small orchestra. Seesaw Music, 1996.

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Foss, Lukas. Elegy for Anne Frank: For orchestra (or chamber orchestra) and piano solo. Pembroke Music Co., 1989.

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Centre, Australian Music. Orchestral music: Scores held at the Australian Music Centre Library. Australian Music Centre, 1998.

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Zwilich, Ellen Taaffe. Romance for violin and chamber orchestra (1993). Merion Music, 1998.

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Book chapters on the topic "Orchestra/chamber music"

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King, Richard. "Recording Chamber Orchestra." In Recording Orchestra and Other Classical Music Ensembles, 2nd ed. Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-22.

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King, Richard. "Recording Chamber Music." In Recording Orchestra and Other Classical Music Ensembles, 2nd ed. Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-39.

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Smith, Neil Thomas. "1. Roundtable 1." In Classical Music Futures. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.01.

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This chapter looks at approaches to urgent issues around equality, inclusion and diversity within classical music today through the lens of volume’s main theme: the future. The discussion covers three arenas in which efforts to increase representation in terms of gender, race and – to a lesser extent – class are well underway, though still with significant steps still to take for parity to be achieved. These are: music higher education, community projects undertaken by orchestras, and festivals of new music. Each author provides a snapshot of the issues at stake in these different areas of cla
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Barber-Kersovan, Alenka, and Volker Kirchberg. "Free ensembles and small (chamber) orchestras as innovative drivers of classical music in Germany." In Innovation in Music. Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-22.

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Klein, Annekatrin. "Inszenierte Konzerte." In Forum Musikvermittlung - Perspektiven aus Forschung und Praxis. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839462614-061.

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Annekatrin Klein befasst sich in diesem Artikel mit Aufführungsformen, die den herkömmlichen Rahmen der Konzertinszenierung verlassen, um die gespielte Musik durch theatrale Mittel neu zu kontextualisieren oder bestimmte inner- oder aussermusikalische Aspekte szenisch zu reflektieren. Die Entwicklung solcher Formate wird in den Zusammenhang des sog. «performative turn» gestellt, der ab Mitte des 20. Jahrhunderts zu einem Paradigmenwechsel in allen Künsten führte und auch das Musikschaffen wesentlich prägte. Anhand zweier Beispiele («Listen to the Silence», Zonzo-Compagnie/ «Les Adieux», Konzer
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"Recording Chamber Orchestra." In Recording Orchestra and Other Classical Music Ensembles. Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-27.

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Evans, Peter. "The Turn of the Screw." In The Music of Benjamin Britten. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165903.003.0011.

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Abstract Britten’s early impatience with the unduly self-conscious nationalism and the restricted emotional range of much English music in the thirties had encouraged him to seek out a music at once more full-blooded and more nervously tense: his discovery of Mahler was reflected in the phraseology of much of his early music, and it was Mahler’s individual orchestral manner (rather than, say, the chamber orchestration of either Stravinsky or Schoen berg) that developed Britten’s keen sensitivity in the use of the small orchestra of solo tone colours. So much was evident at many moments of the
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Garrison, Leonard. "Between Wars." In Gaston Crunelle and Flute Playing in Twentieth-Century France. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197778579.003.0003.

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Abstract During the interwar period, Paris was a musical center without parallel. Gaston Crunelle launched his career by playing in orchestras accompanying silent films in cinemas and performing at spas and casinos like Monte Carlo and Vichy. From 1924 to 1945, he was principal flutist of the Pasdeloup Orchestra and was often a soloist or singled out by critics. He also performed frequently for the leading chamber music societies in Paris. In 1933, he became principal flutist of the Opéra-Comique. Starting in 1924, he made numerous recordings as a solo, chamber, and orchestral flutist. His pla
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Fiala, Michele. "Gordon Hunt." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0011.

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Gordon Hunt is currently principal oboe of the London Chamber Orchestra, and formerly of the Philharmonia and London Philharmonic Orchestras. In this interview, he discusses his early career, tone, reeds, vibrato, and the application of the string concept of louré to oboe. He shares his ideas on breathing, air support, and making a musical plan. He closes with reminiscences of great concerts.
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Essay before the Brahms Clarinet Sonatas (1916)." In The Classics of Music. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0082.

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Abstract The two Clarinet Sonatas of Brahms form, with the Clarinet Quintet and Trio, a remarkable body of work displaying the power a fine player may have to inspire a composer. Brahms’s treatment of the clarinet in orchestral music had always shown a sympathetic understanding of it, but no special predilection such as Mozart displayed when he could be sure of having clarinets at all. An instrument in the orchestra is, however, a very different thing from the same instrument in chamber music; and wind instruments in chamber music present the composer with very sharply defined special problems
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Conference papers on the topic "Orchestra/chamber music"

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Özgen, Zafer. "A Sonic Ecology: Nature, Sound, and Environmental Aesthetics in John Luther Adams’s Become Trilogy." In Ninth International Conference on Music and Minimalism. Institute of Musicology SASA, 2024. https://doi.org/10.46793/mininters.015o.

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John Luther Adams’s Become trilogy – comprising Become River, Become Ocean, and Become Desert – offers a profound meditation on the relationship between humanity and nature. Commissioned by prominent American orchestras, including the Seattle Symphony, New York Philharmonic, and St Paul Chamber Orchestra, these works transcend conventional categories such as minimalism, programme music, and experimental music, inviting listeners into immersive sonic environments. With ecological crises as an underlying theme, the trilogy engages audiences on both aesthetic and philosophical levels. Although Ad
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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986
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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conduct
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Chiciuc, Natalia. "THE CATALOG OF THE AUTOCHTHONOUS COMPOSERS’S MUSIC IN THE ORGAN HALL LIBRARIES: EDITORIAL APPEARANCE." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.04.

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This article presents a summary of the results obtained after processing the musical materials found in the Organ Hall’s libraries within the institutional scientific project Valorization and Conservation through digitization of the academic and traditional music collections from the Republic of Moldova of the Academy of Music, Theater and Fine Arts. The two collections — one of the National Chamber Choir of the Republic of Moldova and the other of the National Chamber Orchestra of the Republic of Moldova — include approximately 300 scores of national significance signed by 49 autochthonous co
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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear,
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Reports on the topic "Orchestra/chamber music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There a
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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