Relevant bibliographies by topics / Orchestra composition

Contents

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

Academic literature on the topic 'Orchestra composition'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Orchestra composition"

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Haimo, Ethan. "Redating Schoenberg's Passacaglia for Orchestra." Journal of the American Musicological Society 40, no. 3 (1987): 471–94. http://dx.doi.org/10.2307/831677.

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Schoenberg's never completed Passacaglia for Orchestra has occupied a significant position in the history of the development of his twelve-tone method. This fragment was thought to date from 1920-that is, before any of Schoenberg's completed serial compositions-but, significantly, it seems to anticipate compositional procedures and techniques from a later period in Schoenberg's serial development. The fragment was given the date of 1920 because on one page Schoenberg dated the manuscript. However, that date was not clearly written. In this study it is shown that the Passacaglia dates not from
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Rovner, Anton А. "Finland, a Vocal Symphony for Soprano, Tenor and Large Orchestra." ICONI, no. 4 (2020): 100–111. http://dx.doi.org/10.33779/2658-4824.2020.4.100-111.

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My composition Finland is a vocal symphony for soprano, tenor and large orchestra set to the text of the early 19th century Russian Romantic poet Evgeny Baratynsky. The main idea behind this composition involves the combination of two contrasting approaches to musical composition: composing an abstract, independent musical work built on purely musical laws of structure and development and, on the other hand, writing a dramatic, programmatic work, the aim of which is to express emotions, to interpret and depict the subject matter of the literary text. The musical composition consists of six mov
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Rapoport, Paul. "The Symphonies of Tālivaldis Ķeniņš." Tempo, no. 157 (June 1986): 13–20. http://dx.doi.org/10.1017/s0040298200022300.

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The economic and political issues which affect the composition, performance, and recording of new orchestral music (or, more precisely, which prevent these activities) operate as much in Canada as in any other western country. Even if works for orchestra do appear, they are more noticeable for their rarity than for their abundance. So it is surprising even to most people in Canada to learn that one Canadian composer has written 21 works for orchestra in the past 26 years, including eight symphonies. Like his other works, these symphonies contain a wide variety of music of impressive technical
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Lesovichenko, Andrey. "B. Britten’s “Guide to the Orchestra”: to the Question of the Unity of the Artistic and Pedagogical Aspects of the Composer’s Plan." Musical Art and Education 7, no. 4 (2019): 65–81. http://dx.doi.org/10.31862/2309-1428-2019-7-4-65-81.

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The article presents an analysis of one of the most interesting orchestral compositions intended to familiarize listeners of symphonic concerts with instruments – compositions by Benjamin Britten “Guide to the orchestra. Variations on Purcell’s theme” The composer created his opus in such a way that it could be played in educational programs. At the same time, the composition has a great artistic value. This allows us to consider it in purely musical and pedagogical aspects. The problems of the variation cycle as a dynamically developing flow of diverse images are determined by intonation segm
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Kirke, Alexis. "Application of Musical Computing to Creating a Dynamic Reconfigurable Multilayered Chamber Orchestra Composition." Leonardo Music Journal 29 (December 2019): 55–61. http://dx.doi.org/10.1162/lmj_a_01064.

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With increasing virtualization and the recognition that today’s virtual computers are faster than hardware computers of 10 years ago, modes of computation are now limited only by the imagination. Pulsed Melodic Affective Processing (PMAP) is an unconventional computation protocol that makes affective computation more human-friendly by making it audible. Data sounds like the emotion it carries. PMAP has been demonstrated in nonmusical applications, e.g. quantum computer entanglement and stock market trading. This article presents a musical application and demonstration of PMAP: a dynamic reconf
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Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.

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In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of mu
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Safran, Benjamin. "“The Hall Does Not Make the Space”: Disrupting Concert Hall Norms in Hannibal's One Land, One River, One People." Journal of the Society for American Music 15, no. 3 (2021): 287–304. http://dx.doi.org/10.1017/s1752196321000183.

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AbstractHannibal's cheering and shouting along with his request for audience participation during the 2015 premiere of his composition One Land, One River, One People caused a stir and created discomfort among the Philadelphia Orchestra audience. I interpret his work as an example of a successful musical direct action within contemporary orchestral music. By exposing and subverting the traditions of the classical concert experience, One Land, One River, One People highlights social boundaries within the genre of classical music itself. I apply Robin James's (2015) concept of Multiracial White
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Radonjić, Asja. "Ivan Brkljačić: Love!: Saxophone concerto." New Sound, no. 56-2 (2020): 65–75. http://dx.doi.org/10.5937/newso2056065r.

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The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will rema
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Abram, Omri. "TIMBRE-BASED COMPOSITION, MULTIPLE PERSPECTIVES AND AMBIGUITY IN REBECCA SAUNDERS’ COMPOSITIONAL STYLE." Tempo 75, no. 297 (2021): 20–34. http://dx.doi.org/10.1017/s0040298221000206.

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AbstractThis article takes up Rebecca Saunders’ comments on the significance of timbre in her work to develop a timbre-centred analytical technique for two of her compositions, Ire (2012), for cello and ensemble, and Still (2011), for violin and orchestra. Two overarching principles are identified: the organisation of the pieces’ sounds into clearly differentiated categories, which can also overlap in different ways, and the use of a phrase-based logic in the pieces’ formal construction. Alongside the timbral construction, stable pitches acquire formal significance by virtue of their rarity an
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Patrikov, Georgi. "PEDAGOGICAL PROBLEMS OF WORKING ON RHAPSODIC FANTASY BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." Knowledge International Journal 28, no. 3 (2018): 1051–56. http://dx.doi.org/10.35120/kij28031051g.

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There are at least two reasons why Rhapsodic fantasy by Dimitar Nenov should be included in the curriculum for students in the Orchestra conducting field of study.The first of them is the high artistic value of the composition (the same applies to the Piano concert – one of the two great pinnacles of Nenov’s work), which assigns it a well-deserved honorary place not only amongst the Bulgarian musical culture, but also amongst the most valuable models of European symphonism.Unfortunately the work is not well-known even for the Bulgarian public – a problem that could be solved by it being studie
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Dissertations / Theses on the topic "Orchestra composition"

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Frank, Robert J. 1961. "Temporal Distortions: a Composition for Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.

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Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant
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Yamanaka, Keiko. "X (Original composition, Chamber orchestra)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq50702.pdf.

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McIntyre, Richard Allan. "Myths, a Composition for Orchestra." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86956.

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Music Composition<br>D.M.A.<br>Myths consists of three movements for a moderately sized orchestra with a pitched percussion section including marimba, vibraphone, celesta, xylophone, chimes and orchestra bells. Part of its intent is to address the programming needs of regional and community orchestras while also taking into account the probable resources available to them. Engaging its audience on multiple levels, Myths contains references to traditional harmony and familiar musical devices while drawing on contemporary practices as well. Beyond its obvious features, additional layers of inter
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Mitchell, Christopher Paul. "Atrophy for Orchestra." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/913.

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AN ABSTRACT OF THE THESIS OF CHRISTOPHER MITCHELL, for the Master of Music degree in COMPOSITION, presented on MAY 7, 2012, at Southern Illinois University Carbondale. TITLE: ATROPHY FOR ORCHESTRA MAJOR PROFESSOR: Dr. Frank Stemper In early 2010, I became inspired to compose a piece of music for orchestra. First, there were several items to consider. I had to decide whether to write for a rather large orchestra, a normal size orchestra or a smaller sized, chamber orchestra. Up until this point I had yet to write an orchestral composition. Indeed, there are multiple aspects to not only composin
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Švast, Maja Mays Walter. "Intertwinings for full orchestra a composition /." Diss., A link to full text of this thesis in SOAR, 2007. http://soar.wichita.edu/dspace/handle/10057/1177.

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Thesis (M.M.)--Wichita State University, College of Fine Arts, Dept. of Music.<br>"May 2007." Title from PDF title page (viewed Dec. 29, 2007). Thesis adviser: Walter Mays. Includes bibliographical references (leaves 187-203).
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Walczyk, Kevin 1964. "Capriccio: A Composition for Symphonic Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935623/.

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A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.
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Rowley, Helen Jane. "Portfolio of orchestra compositions." Thesis, Brunel University, 2007. http://bura.brunel.ac.uk/handle/2438/3025.

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Thesis based on the submission of orchestral compositions relating the music pieces to visual works. The compositions are also discussed in terms of where they fit within a contemporary, orchestral context.
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Yu, Xuan. "Pilgrimage for Orchestra." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1606819311410771.

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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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Greene, Michael 1939. "Six Pieces for Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc1038839/.

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The six Pieces for Orchestra are short twelve-tone compositions . Each piece is an individual entity in itself, but they all stem from the same twelve-tone row. The method of composition with twelve tones evolved through the works of Arnold Schoenberg (1874-1951). It was utilized by his disciples and has won general acceptance by a wide variety of composers.
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Books on the topic "Orchestra composition"

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White, Andrew Nathaniel. A treatise on jazz composition. Andrew's Music, 1985.

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Wilson, Marian. Felix Mendelssohn's works for solo piano and orchestra: Sources and composition. UMI, 1993.

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Stockhausen, Karlheinz. Composition course on Hoch-Zeiten (of Sunday from Light) for orchestra (2001/02). Stockhausen-Verlag, 2004.

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Ruoqi, Liang, ed. Gu dian yin yue jiu shi zhe yang zi. Ru guo chu ban she, 2007.

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Ganeri, Anita. The young person's guide to the orchestra: Benjamin Britten's composition on CD narrated by Ben Kingsley. Harcourt Brace, 1996.

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Yiwen, Wu, ed. Gu dian yin yue jian dan dao bu xing! Ru guo chu ban she, 2007.

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Herbert, Victor. Suite for cello and orchestra, op. 3 ; Three compositions for string orchestra ; Serenade for string orchestra, op. 12. Nonesuch, 1985.

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Association, Dallas Symphony, ed. Compositions of note: Dallas Symphony Chorus, Orchestra, and staff cookbook. Dallas Symphony Chorus, 1996.

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Ledbetter, Steven. A Handlist of compositions with orchestra by New England composers, ca. 1875-1925. s.n., 1987.

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Michelet, Casbergue Renee, ed. Writing in preschool: Learning to orchestrate meaning and marks. 2nd ed. International Reading Association, 2009.

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Book chapters on the topic "Orchestra composition"

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Fan, Xing. "Fresh yet Familiar: Music." In Staging Revolution. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455812.003.0008.

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Chapter 7 examines music in model jingju, the dimension that has been generally acknowledged as the most successful among these productions’ artistic aspects. The author approaches music in model jingju from four perspectives: (1) orchestra organization which features a Chinese-Western combined orchestra, realized through artistic experimentation in the use of instruments, orchestral composition, orchestral conducting, and playing techniques; (2) percussive music, the innovative adaptation of traditional percussive passages, and the creation of new percussive passages to accompany arias, movement, and combat; (3) instrumental music and its functions in building up theatricality; and (4) vocal-melodic music, its association with traditional modes and modal composition, traditional metrical types and metrical-type composition, and traditional melodic-phrases and melodic-passage composition. This chapter features a detailed analysis of the use of musical motifs and personal interviews with chief composers and instrumentalists.
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Iddon, Martin, and Philip Thomas. "Situating the Concert for Piano and Orchestra." In John Cage's Concert for Piano and Orchestra. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.003.0002.

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This chapter provides the background and the conditions for the composition of the Concert for Piano and Orchestra. It discusses, on the basis of sketch material, how Cage composed the predecessor pieces, Music for Piano and Winter Music. It discusses the hidden influence of Cage’s teacher, Schoenberg, on his thinking about musical process, and details Cage’s imperfect, but significant, knowledge of jazz.
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Heyman, Barbara B. "Discoveries." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0004.

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This chapter describes Barber’s first few trips to Europe, with a fellow student, cellist David Freed, where his romance for European culture began and greatly influenced his work. He sought the most brilliant European artists, musicians, and music professors during that time, immersing himself in their works and teachings. These trips left him with a greater passion for composition as he returned to the Curtis Institute, where he proceeded to write with an utmost intensity. But his writing at this time was not without the usual peaks and troughs, as is the case with any artist. There were compositions wherein Barber doubted his talent. However, his perseverance and determination earned him his first prize in music—the Joseph Bearns Prize for a violin sonata that was lost for many years. It was also at this time that the Serenade of 1928 was born, one of the earliest orchestra pieces that launched Barber’s career. The promotion of his work by Mary Curtis Bok, the founder of the Curtis Institute of Music, was substantial.
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Loza, Steven. "From the Seventies On." In The Jazz Pilgrimage of Gerald Wilson. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816023.003.0006.

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This chapter highlights Wilson's consistent, progressive development during the second part of his career that encompassed various phases and explorations, including active work in media and education. From the early 1970s, Wilson's musical culture and impact have diversified. During this time, his role expanded well beyond that of bandleader, arranger, and composer, as he entered the realms of symphonic composition, radio, and education while all the time maintaining his principal vocation of composing, arranging, recording, concertizing, and keeping his orchestra together. During the early years of the decade of the 1970s, Wilson was offered an opportunity for a commission to compose a piece for the Los Angeles Philharmonic. He also began to teach courses on the history of jazz at a number of different universities in the Los Angeles area.
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Heyman, Barbara B. "Lincoln Center Commissions." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0017.

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For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.
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"‘Italian sonatas in orchestral garb’." In Compositional Artifice in the Music of Henry Purcell. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.010.

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Iddon, Martin, and Philip Thomas. "Sketching the Concert for Piano and Orchestra." In John Cage's Concert for Piano and Orchestra. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.003.0003.

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This chapter discusses Cage’s sketches for the Concert for Piano and Orchestra. It outlines both what can be said about Cage’s compositional process on the basis of sheets which directly detail aspects of it and on the basis of the traces of his process which can be found in the manuscript of the Solo for Piano. It details his work with jazz musicians in developing the instrumental parts for the piece, as well as unpacking further aspects of the actual process with reference to Music for Piano.
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Martin, Henry. "Music Background and Compositional Overview." In Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.003.0002.

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Chapter 1 begins with a discussion of Parker’s life, emphasizing his musical background, his early musical training, and his experiences that bear directly on his future as a jazz saxophonist. This overview tracks Parker’s growing professional stature as well as his role in the development of bebop style. Once Parker achieves significant professional success as a member of the Jay McShann Orchestra (1940–1942), the emphasis in the narrative shifts to his career as a composer. The relationships between Parker and his record companies, which secured his copyrights as publisher, are explored. The chapter ends by discussing his unrecorded compositions, including the possibility that they are not by Parker.
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Hobson, Vic. "“The Pride of Race”." In Creating the Jazz Solo. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819772.003.0013.

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This chapter charts Armstrong’s return to Chicago working with Erskine Tate’s orchestra playing to accompany silent films. His development as a singer during this period particularly in relation to “HeebieJeebies,” and his involvement with W. C. Handy and his blues compositions. There is discussion of the similarities of the quartet and music educational background of both Handy and Armstrong and the use of chord substitutions in blues tunes.
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Elliott, Andrew C. A. "Mixing it Up." In What are the Chances of That? Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869023.003.0011.

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Mozart’s musical dice game is one example of how musicians and other artists have incorporated aleatoric elements into their work. Jazz improvisation means every performance is different. Cage left space for the environment to make its own music, but Xenakis took a mathematician’s understanding of randomness and created avant-garde compositions that use the orchestra in new ways. Generative techniques use random numbers to provide new music and other kinds of art on demand. Blocked creativity can be freed by deliberate injections of spontaneity.
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Conference papers on the topic "Orchestra composition"

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Y.W., Liu. "China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-54.

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The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the
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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the str
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Reports on the topic "Orchestra composition"

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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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