Relevant bibliographies by topics / Percussion and celesta with string orchestra

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Percussion and celesta with string orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Percussion and celesta with string orchestra"

1

Lesniaski, David, and Henryk Mikolaj Gorecki. "First Symphony "1959" for String Orchestra and Percussion (1959)." Notes 48, no. 4 (1992): 1449. http://dx.doi.org/10.2307/942166.

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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘
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Sabo, Atila. "Harmonic language as a generator of mediation between contrasting meanings in the post-tonal context." New Sound, no. 52-2 (2018): 111–30. http://dx.doi.org/10.5937/newso1852111s.

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This paper examines the influence of harmonic language on the narrative processes in post-tonal music. The main assumption is that the phenomenon of mediation, expounded on by David Lidov on the examples of music of Classicism and Romanticism, is quite similarly manifested when the major-minor system is suspended. Mediation, according to Lidov, implies cancelling opposition or blurring opposed semantic categories, which can be achieved by various music means. In music that emerged after the suspension of tonality, especially in authors who have not opted exclusively for either of the two oppos
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Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.

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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's
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Rakochi, Vadym. "Traditional and innovative in the orchestration of Ivan Karabyts‘ third concerto for orchestra «Lamantation»." Ukrainian musicology 46 (October 27, 2020): 86–98. http://dx.doi.org/10.31318/0130-5298.2020.46.234602.

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The orchestration of Karabyts’ Third Concerto for Orchestra “Holosinnia” (“Lamentations”) has been studied. The relevance of the study. Despite a number of research works on Karabits’ Third Concerto its orchestration remains little studied yet. Therefore, the main objective of the paper is to examine orchestration of the Third Concerto for orchestra and to research the interaction between ‘traditional’ and ‘innovative’ traits in Concerto’s orchestration. The methods of the research. The score analysis lies in the core of the paper but historical, comparative, and semiotic methods of analysis h
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Mu
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Zubko, Natalia. "“SOUVENIR FROM LVIV” BY VIKTOR KAMINSKY AS AN EXAMPLE OF THE AUTHOR’S EMBODIMENT OF THE CONCERT GENRE." Scientific Journal of Polonia University 65, no. 4 (2024): 131–36. http://dx.doi.org/10.23856/6515.

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This article highlights the distinctive features of Kaminsky's individual style and musical language as realized in his Concerto "Souvenir from Lviv" four piano duet and orchestra, and determines the main interpretive aspects of the piece. "Souvenir from Lviv" exemplifies Kaminsky's ability to merge postmodern eclecticism with neo-romantic emotionality. Kaminsky integrates elements of neo-styles, including neoromanticism and neo-baroque, which add special depth and complexity to his work. These stylistic elements allow the composer to create a rich sound landscape, where traditional forms mix
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Nasibulina, Alisa V. "THE MUSICAL STYLE OF COMPOSER YURI KASPAROV." Arts education and science 2, no. 39 (2024): 137–46. http://dx.doi.org/10.36871/hon.202402137.

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This article is devoted to the musical style of Yuri Kasparov (b. 1955), Russian composer and music teacher, Professor at the Moscow State Tchaikovsky Conservatory, who writes primarily chamber music. Many of his compositions are scored for a chamber orchestra comprising flute, oboe, clarinet, bassoon, horn, trumpet, trombone, harp, piano, percussion, two violins, viola, cello and double bass (an instrumentation derived from A. Schoenberg’s Chamber Symphony No. 1). His works include over 80 chamber compositions of different genres written for one to 17 instruments. He tends to use non-standard
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Surtihadi, R. M. "Instrumen Musik Barat dan Gamelan Jawa dalam Iringan Tari Keraton Yogyakarta." Journal of Urban Society's Arts 1, no. 1 (2014): 27–43. http://dx.doi.org/10.24821/jousa.v1i1.786.

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Perpaduan instrumen musik Barat dengan instrumen gamelan Jawa untukmengiringi tari di Keraton Yogyakarta sudah berlangsung sejak lampau. Hingga saatini perpaduan tersebut masih dapat dijumpai. Bermula dari peristiwa kontak budayaBarat dan Timur, instrumen musik Barat telah menjadi bagian dari kelengkapanupacara protokoler Keraton Yogyakarta. Tujuan penulisan ini untuk membuat kajianhistoris perpaduan gamelan Jawa dengan seperangkat instrumen musik orkestraBarat untuk mengiringi pertunjukan tari putri pada bagian kapang-kapang Bedhaya,Srimpi, dan tari putra Lawung Ageng Keraton Yogyakarta. Bebe
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Cajamarca Cárdena, Wilson Bolívar, Karola del Rocío Álvarez Pesántez, Gabriela Nataly Ochoa Urgilés, Guido Esteban Abad Vicuña, and Erika Priscila Montaño Loja. "Hipoacusia laboral en ejecutantes de la Orquesta Sinfónica de Cuenca, 2019." Revista Médica del Hospital José Carrasco Arteaga 14, no. 1 (2022): 13–18. http://dx.doi.org/10.14410/2022.14.1.ao.02.

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BACKGROUND: Noise-induced hearing loss (NHL) is the second leading cause of hearing loss, after presbycusis. It is considered an occupational disease and a public health problem. The aim of this study was to establish the prevalence of occupational noise-induced hearing loss and its association with other sociodemographic and occupational variables in performers of Cuenca’s Symphonic Orchestra in 2019. METHODS: This is an observational, analytical, cross-sectional study, whose universe was conformed by the professional musicians of Cuenca’s Symphonic Orchestra in 2019. We aimed to establish th
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Dissertations / Theses on the topic "Percussion and celesta with string orchestra"

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Kimbler, Chad. "CONCERTO FOR AMPLIFIED MANDOLIN, STRING ORCHESTRA, AND PERCUSSION." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143068097.

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Real, Nicolas. "Concerto No. 1 for Flute, String Orchestra and Percussion." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252765.

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Music Performance<br>D.M.A.<br>A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.<br>Temple University--Theses
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Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Spence, Jacob F. "L'Éternité : cantata for SATB soloists and choir, flute, cor anglais, bass clarinet, alto saxophone, timpani, eight percussionists, piano, harpsichord, celesta, harp, guitar and string orchestra." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/27450.

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Ferris, Morris Samuel A. "Pulse Patterns." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1398272266.

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Chang, I. Yen, and 張意豔. "Research and Analyze Bartok 「Music for String Instruments、 Percussion and Celesta」." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/21097153452033633830.

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碩士<br>文化大學<br>藝術研究所<br>81<br>@　 貝拉．巴爾托克素來被冠上民族作曲家的封號，無非是他追本溯源， 欲從祖國匈牙利尋找本國的聲音、節奏和音樂。但若想從他所有作品裡， 依循其民謠風的路線去探索他創作的根源，卻未必皆能如願。因為他傳統 學院派的音樂教育之背景，奠定他創作技法的基礎，並擴及了他音樂資源 利用範圍。被稱為他創作成熟時期顛峰作品之一的「絃樂器、打擊樂與鋼 片琴合奏曲」，是他運用調式、民謠節奏與西方音樂的舊有曲式，加上自 美術領域裡衍生出來的黃金定律，匯編而成。這種東、西音樂素材結合的 手法，使得這首曲子在舊有的模式裡顯現新意。因此在分析時，除了探討 巴爾托克作品風格的演變與創作手法外，更著重於他音樂素材，樂曲舖陳 的運用手法在此曲中如何展現他具個性美與形式美獨特的音樂語言。筆者 同為自小接受西方音樂教育，而在研究所裡接觸到中國音樂，對本國音樂 多一分情感。在國人一片中學西用，國樂交響化的聲浪中，是否已為國樂
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HUANG, HAO-HSUAN, and 黃浩軒. "Concerto for Clarinet and String Orchestra with Harp and Percussion." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/27673308742172686744.

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Wilson, Zackery Joseph. "Música dramática." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1503.

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In my years as a composer, I’ve had a great fascination with the concept of juxtaposition and superimposition of various moods and styles of music. Although I’d written many pieces before thesis, I had yet to examine the results of this polarization in music. Thus, the purpose of this present composition was to explore contrasting musical elements while combining them in a coherent, competent manner. To begin, I chose two differing instrumentations of which to amalgamate: strings and percussion. música dramática exploits the different timbres and colors of the instruments and presents them by
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Esanu, Corneliu. "Spring, summer, autumn : concerto for a solo group of wind instruments, piano, harp, percussion, and string orchestra (Original composition) /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442474&T=F.

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Mountain, Rosemary. "An investigation of periodicity in music, with reference to three twentieth-century compositions: Bartok's Music for trings, percussion & celesta, Lutoslawski's Concerto for orchestra, Ligeti's Chamber concerto." Thesis, 1993. https://dspace.library.uvic.ca//handle/1828/9666.

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An investigation into the nature and functions of periodicity is presented through analysis and discussion. Periodicity is established by the repetition of any musical event at regular intervals in time. The three works analyzed exhibit periodic elements in a variety of contexts and on different structural levels, thereby illustrating typical functions of periodicities in complex twentieth-century music. These functions include stratum delineation, textural definition, and metric-style organization. In some cases, the regularity of the periodicities is crucial to their function, while in other
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Books on the topic "Percussion and celesta with string orchestra"

1

Bartók, Béla. Piano concertos. Urania, 2006.

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2

Panufnik, Andrzej. Sinfonia concertante: For flute, harp and strings ; Concertino for timpani, percussion and strings ; Harmony. Conifer Classics, 1994.

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Paulus, Stephen. Organ concerto for solo organ, timpani, percussion and strings. European American Music, 1992.

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Wooldridge, David. The castle of Arianrhod: Mixed chorus, string orchestra, harp and percussion, op. 47. Hinchinbroke Music, 1988.

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Bartók, Béla. Music for String Instruments, Percussion and Celesta. Boosey & Hawkes, Incorporated, 2004.

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6

Martin, Joanne. Festive Strings for String Quartet or String Orchestra. Alfred Publishing Company, 1998.

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Martin, Joanne. Festive Strings for String Quartet or String Orchestra. Alfred Publishing Company, 1998.

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Martin, Joanne. Festive Strings for String Quartet or String Orchestra. Alfred Publishing Company, 1998.

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Festive Strings for String Quartet or String Orchestra. Alfred Publishing Company, 1998.

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Festive Strings for String Quartet or String Orchestra. Alfred Publishing Company, 1998.

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Book chapters on the topic "Percussion and celesta with string orchestra"

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"The Completion of the Percussion Family in the Orchestra (1926)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0021.

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Abstract The percussion family is the least complete in the orchestra. I do not refer here to more or less noisy instruments of fairly indefinite pitch, such as the snare drum, tenor drum, gong, cymbal, triangle, bass drum and so on, but to those instruments of definite pitch which are capable of melody and harmony, such as the xylophone, glockenspiel, large bells, dulcitone, celesta, piano, kettle drum, ‘nabimba’, tubular bells and others. The brilliant experiments of various earlier and recent composers (the celesta in Tchaikovsky’s Nutcracker Suite, the xylophone in Saint-Saens’ Danse Macab
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Everett, Walter. "Sweetening with Band, Orchestral, and Other Instruments." In The Foundations of Rock. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195310238.003.0004.

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Abstract The instruments covered thus far are basic to all rock and most pop music. But every instrument common to the wind band and the orchestra, and many from folk usage are heard in the pop-rock literature as well. At times, an orchestra or band of any size appears as a whole and on its own; at others, a record producer will book expert performers—session musicians—to add soloists, small groupings, or large sections of instruments to a rock group for just the right touch of sweetening. We’ll discuss and provide examples of each member of the woodwind, brass, percussion, and string sections
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