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Dissertations / Theses on the topic 'Piano as percussion'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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1

Brink, Margaret. "The piano as percussion instrument /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11272.

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2

Irvine, John. "'Strange Language' for clarinet, piano & percussion." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/28281.

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3

Jenkins, Matthew B. "Contemporary percussion performance an overview of aesthetics and performance practices /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453661.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Accompanying disc is DVD-ROM and contains sound files of the recording of the recital. Title from first page of PDF file (viewed Jun. 25, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 7.

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4

Sokolov, Yaron. "Atteone significa : for viola, piano and percussion with controllers /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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5

Garcia-Castells, Federico Jose Chen Yi. "Pervigilivm [i.e. Pervigilium] veneris for mixed choir, piano and percussion quartet /." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.<br>"A thesis in music composition." Typescript. Advisor: Chen Yi. Includes vita and English translation of text. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.

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6

Suh, Ye Sook Lee. "Ssibaji an opera in two acts for 9 characters, percussion and piano /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/4174.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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7

Young, Aaron. "Four pieces for quartet : a composition for violin, violoncello, piano, and percussion." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27802.

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“Four Pieces for Quartet” is a 27 minute chamber work for violin, violoncello, piano, and percussion. Influenced by various elements of jazz composition and practice, its four movements draw from various eras of jazz history for source material. The chosen material from ragtime, bebop, modal, and modern jazz sub-genres functions as the impetus for motive and rhythmic development, gesture, compositional structure, instrumentation, orchestration, and instrumental interaction throughout the work. With the appropriation and incorporation of these materials, the composition seeks to subtly merge ja

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8

Sharp, Barry Shelton. "Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

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Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work

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9

Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.

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This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. Th

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10

Goto, Yo. "Voci Lontani for flute, trumpet, percussion, piano, and string quartet: Critical essay and score." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5555/.

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This project consists of an original composition, Voci Lontani, and a critical essay about the composition. In this piece, the idea of musical simultaneity is explored. Therefore, the piece focuses on the idea of contrast: between measured rhythms and indeterminate rhythms, between tonality and atonality, and between musics in separate tempos. In order to explore the significance of musical simultaneity, four important compositional concepts-the simultaneous juxtaposition of different musics, polyrhythmic structure, controlled indeterminacy, and quotation-are discussed. Also, several examples

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11

Gotō, Yo. "Voci lontani for flute, trumpet, percussion, piano, and string quartet, critical essay and score /." connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.unt.edu/etd/all/Aug2004/goto%5Fyo/index.htm.

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12

Alves, Aline da Silva. "Marlos Nobre : variações rítmicas Opus 15 para piano e percussão, uma abordagem analítica visando à interpretação." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284404.

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Orientadores: Mauricy Matos Martin, Fernando Augusto de Almeida Hashimoto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-20T17:54:10Z (GMT). No. of bitstreams: 1 Alves_AlinedaSilva_M.pdf: 21332609 bytes, checksum: 1b443b99d62f525e34fc7498035908ae (MD5) Previous issue date: 2012<br>Resumo: Este trabalho aborda a peça Variações Rítmicas opus 15 para piano e percussão típica brasileira do compositor Marlos Nobre. Seu objetivo principal foi realizar um estudo analítico e um mapeamento histórico da peça a fim de proporciona

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13

Lee, Brent. "Ribbons of visible air." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0033/NQ38923.pdf.

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14

Carrizo, Andrés. "Senseflash." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182377879.

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Thesis (M.M.)--Bowling Green State University, 2007.<br>Document formatted into pages; contains 1 score (50 p.). For flute, B♭ clarinet, violin, violoncello, percussion and piano. Includes bibliographical references.

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15

Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of

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16

Bolles, Marita. "What exit /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049669.

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17

Bonacossa, Federico. "Materials and Techniques in D’improvviso da immobile s’illumina, for Bass Clarinet, Two Orchestras, Piano and Percussion." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/989.

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D’improvviso da immobile s’illumina is a concerto for bass clarinet, two orchestras, piano, and percussion, that I composed during my graduate studies at Florida International University in Miami. The work is approximately 16 minutes long and is scored for 30 independent instrumental parts in addition to the bass clarinet soloist. Although the piece does not incorporate electronics, electronic music was a major influence in its creation, and the computer was used extensively as a compositional tool. In addition, the writings of Henry Cowell and the music of Sofia Gubaidulina influenced the con

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18

Brodack, Cory Michael. "Human Becoming." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615923746675136.

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19

Phillips, Nathaniel Tull. "Horologium du Futur past /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9963667.

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Thesis (Ph. D.--Music)--University of California, San Diego.<br>Vita. For flute, violin, clarinet, violoncello, piano, percussion, and tape. Includes program notes and performance instructions preceding score.

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20

Ginder, Jon. "The Fields We Watched." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459292665.

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21

Martin, Michael G. "A Study of the Original Composition "Land of Our Birth" for Male Chorus, Brass, Percussion, Woodwinds, and Piano." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376500829.

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22

Mendes, Helvio Monteiro 1985. "Suite para xilofone e piano de Osvaldo Lacerda : um estudo interpretativo e levantamento histórico do instrumento no Brasil." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285224.

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Orientador: Fernando Augusto de Almeida Hashimoto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T07:33:30Z (GMT). No. of bitstreams: 1 Mendes_HelvioMonteiro_M.pdf: 11326348 bytes, checksum: 8cd1192b5d05502160f2f87f1dfe4d6e (MD5) Previous issue date: 2014<br>Resumo: A presente dissertação realizou um estudo interpretativo sobre a peça intitulada Suíte para Xilofone e Piano, composta em 1974 por Osvaldo Lacerda, sendo essa a primeira obra no Brasil que eleva o xilofone a um caráter de instrumento de destaque para além

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23

Harris, Joshua Kimball. "“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407859/.

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Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/su

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24

Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

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Thesis (M.M.)--Bowling Green State University, 2007.<br>Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.

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25

Blanchard, Scott. "Subjectivities." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143484643.

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Thesis (M.M.)--Bowling Green State University, 2006.<br>For B♭ clarinet, alto saxophone, violin, violoncello, percussion (vibraphone, timpani) and piano. Document formatted into pages; contains 1 score (26 p.) Duration: ca. 13 min. Includes bibliographical references.

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26

UMBELINO, Laura Moraes. "Festspielmusik de Ronaldo Miranda para dois pianos e percussão: uma abordagem interpretativa." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2708.

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Made available in DSpace on 2014-07-29T16:25:12Z (GMT). No. of bitstreams: 1 Dissertacao Laura Moraes Umbelino - texto - parte 1.pdf: 1746036 bytes, checksum: b0991f838d7f8fcaa9af57ec009a5cd6 (MD5) Previous issue date: 2012-04-13<br>This dissertation discusses the work Festspielmusik (2003) for two pianos and percussion written by Brazilian composer s Ronaldo Miranda (1948). A historical contextualization provided the information pertinent survey of Ronaldo Miranda s trajectories vital and compositional. The article discusses the analogy between the mechanism of the piano (struck string inst

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27

Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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28

Abdul-Aziz, Razak. "'The Fisherman' : for six voices (solo singer and SSATB chorus), piano, string and percussion : based on the George Campbell Hay poem of the same name." Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/26080.

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29

Dower, David. "Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1673.

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This practice-led project investigates the crafting of approaches to solo jazz piano performance. Through a study and application of assimilation techniques derived from a range of different music styles, a series of self-accompaniments were devised. In addition, the process of developing improvisational facility over these accompaniment patterns was documented. Although performing solo requires a different approach to ensemble work, jazz pianists are commonly only trained in ensemble practices, rendering the solo setting a potentially overwhelming challenge. In order to move away from ensembl

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30

Smith, Jeffrey B. 1957. "Parallels in the Development of Electronic and Percussion Music and an Examination of Performance Problems in Lejaren Hiller's Machine Music for Piano, Percussion and Two-Channel Tape Recorder with Three Recitals of Selected Works of Rolnick, Kessner, Xenakis, Winsor, Niimi, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279115/.

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This study traces the significant developments in the late nineteenth and early twentieth centuries which led to the development of electronic music and increased writing for percussion. Whether by coincidence or premeditation, the field of percussion in Western culture and electronic music share many parallel aspects in their history. Carlos Chavez, Edgard Varese and John Cage foresaw a time when electronic music would allow composers to realize compositions with ease, provide new sounds to the spectrum of possible material for pieces and aid in the conception of works. Significantly, these

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31

May, Andrew Emerson Ralph Waldo. "Vanishing : a composition for ensemble and computer /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9984809.

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Thesis (Ph. D.--Music)--University of California, San Diego.<br>Vita. For flute (piccolo), piano, percussion (1 performer), 2 violas, 2 violoncellos, and computer. Includes technical notes and instructions for performance preceding score.

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32

Dease, Emory Christian. "An examination of selected works for percussion : Black sphinx by Leander Kaiser, To the Gods of rhythm by Nebojsa Zivkovic, Regresar a Nuestra by Stephanie Sasscer, Wave, How Insensitive and Agua de Beber by Antonio Carlos Jobim, Concerto pour vibraphone et piano by Emmanuel Sejourne, 6 & 8 by Tobias Brostrom, Suomineito by Nebojsa Zivkovic, Conververgences by Steve Fitch." Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/4203.

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33

Fryer, Cheryl A. "An Annotated Bibliography of Selected Chamber Music For Saxophone, Winds and Percussion with Analyses Of Danses Exotiques by Jean Françaix, and Nonet by Fisher Tull." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4421/.

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An expansive repertoire of original chamber works is available for ensembles comprised of saxophone, wind and percussion instruments. Many musicians, including saxophonists and conductors, are unaware of this enormous body of literature. This produces a compelling need for sources of identification available to conductors, performers and teachers. This study begins to provide such a source through the presentation of selected works and the accompanying annotated bibliography. The lack of awareness of available scores for chamber music with saxophone, winds and percussion among conductors and m

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34

Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.<br>CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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35

Molnar, Delanie. "Breaking In Torrent ⸺." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616069974460694.

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36

Schellhas, Daniel H. "PEREGRINATION: A MUSICAL SKETCH OF EUROPE IN FOUR MOVEMENTS." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174323599.

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Thesis (M.M.)--Bowling Green State University, 2007.<br>For alto saxophone in E♭, violoncello, piano, percussion (vibraphone, crystal glasses (C,E,G♯, B)) Document formatted into pages; contains 1 score (19 p.) Duration: ca. 13 min. Includes bibliographical references.

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37

Pitman, Dennis. "Life Above the Permafrost." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1272739943.

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38

Damann, Benjamin A. "herbstlied." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615589042543498.

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39

陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.

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40

Simons, Haley A. "Béla Bartók's Sonata for two pianos and percussion." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59918.pdf.

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41

Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as

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42

Tarazona, Francia Federico Octavio. "Le hatun charango et la culture andine dans trois de mes compositions récentes." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30115/30115.pdf.

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Le présent mémoire traite principalement de l'association du hatun charango – un instrument de ma création appartenant à la famille du charango andin – à des formations instrumentales occidentales (musique de chambre et d’orchestre). La conception de ces œuvres a engendré une réflexion sur l’importance, dans mon travail artistique, des relations entre la culture de tradition orale – ici, la culture andine – et la culture de tradition écrite – la culture occidentale en général –, et tout particulièrement dans le domaine musical. Ces enjeux sont ici abordés selon une réflexion personnelle liée à

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Ujj-Hilliard, Emöke. "An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for two pianos and percussion by Béla Bartók." connect to online resource, 2004. http://www.unt.edu/theses/open/20041/ujj-hilliard%5Femoke/index.htm.

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44

Kingan, Michael Gregory. "The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278688/.

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The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.

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45

Bittencourt, Alexis da Silveira. "A guitarra Trio inspirada em Johnny Alf e João Donato : uma abordagem do estilo de interpretação de Johnny Alf e João Donato ao piano, direcionada a performance da guitarra em contexto instrumental trio (guitarra, contra-baixo e bateria/percussão)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284740.

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Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-07T17:47:31Z (GMT). No. of bitstreams: 1 Bittencourt_AlexisdaSilveira_M.pdf: 1695226 bytes, checksum: 92231c6957e04d697fa545b4571049d8 (MD5) Previous issue date: 2006<br>Resumo: Este trabalho parte da tese de que o estilo interpretativo ao piano, em contexto instrumental Trio (piano, contra-baixo e seção rítmica), de Johnny Alf e João Donato, constitui uma espécie de elo norteador à interpretação da música popular brasileira a partir

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i, chen chen, and 陳貞伊. "A Study of Musical Characteristics between Piano and Percussion in Bela Bartok’s Sonata for Two Pianos and Percussion." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/66065441950414760999.

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47

Van, Seters Thomas Andrew. "Eighty-eight Drums: The Piano as Percussion Instrument in Jazz." Thesis, 2011. http://hdl.handle.net/1807/31962.

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Evidence of a link between piano and drumming performance practices in western music dates back to at least the mid-nineteenth century. The modern construction of the piano had yet to be fully standardized when percussive techniques were being applied to its keyboard. Since that time, pianists and drummers (especially those involved with the creation of groove-based music) have grown closer and closer, participating in what remains a richly symbiotic relationship. This study examines parallels between piano and drumming performance practices in jazz. In this context, drumming is acknowledged a

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48

Barkoskie, Alvez Theodore. "Rasgueado for flute, clarinet in Bb, violin, cello, percussion and piano." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4822.

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"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello.<br>text

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49

Cho, Soo Jin Kubík Ladislav. "Golgotha." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04192004-144302/.

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Abstract:

Thesis (M.M.) -- Florida State University, 2004.<br>For flute, trumpet, piano and percussion (2 performers). Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-28-04). Document formatted into pages; contains 36 pages. Includes biographical sketch.

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50

Hegedus, Michael Stephen Kubík Ladislav. "Encounters Chamber pieces for eight players /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04112005-180945/.

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Abstract:

Thesis (M.M.) Florida State University, 2005.<br>Advisor: Ladislav Kubik, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). Document formatted into pages; contains 49 pages. For flute, saxophone, bassoon, piano, violin, violoncello, and percussion (2 players). Includes biographical sketch.

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