Dissertations / Theses: 'Piano scores'

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Howard, Christopher Eugene. "Piano concerto." Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.

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Tan, Chee-Tick. "Piano Quintet." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277681/.

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The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.

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Ferguson, Sean. "Concerto for piano and orchestra : "Inside passage"." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37726.

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the score of this work.
Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my use of contour theory. Part II of the first volume illustrates these techniques through an analysis of the Concerto for Piano and Orchestra. The main topics of this analysis are the creation of background harmonic regions based on high pitch commonality to a referential sonority, and the integration of a basic shape or contour into all parameters and structural levels of the music.
Volume two is the full score of the Concerto for Piano and Orchestra. This work has a duration of 23 minutes. It is scored for solo piano and a small orchestra consisting of flute (doubling on piccolo), oboe, B-flat clarinet, bassoon, horn in F, trumpet in C, trombone, two percussion and strings (44332). The Concerto is divided into four movements, played without pause, and two brief opening and closing sections.

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Picton, Michael. "Curio shop : concerto for piano and chamber orchestra." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27481.

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v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)
Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.
It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topics include the use of tonality in the work, the variation techniques used in composing the interludes, and a discussion of compositional procedures used in a single movement along with examples of their application in other movements.

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Patch, Marc. "L.U.K.L.O.V.: concerto pour piano." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61132.

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Anschutz, Janet Kay, and Joseph 1732-1809 Sonatas piano H. XVI 50 C. major Haydn. "A master's recital and lecture recital." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9818.

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Skinner, Myles. "Sonatina for trombone and piano." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ30692.pdf.

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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.
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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Lee, Kyung-ae. "A comparative study of Claude Debussy's piano music scores and his own piano playing of selections from his Welte-Mignon piano roll recordings of 1912." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035961.

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Chan, Sze-rok, and 陳詩諾. "Inspired by the Hindu tradition: compositionsand reflections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.

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Ahn-Kim, Yong Hee. "Rhapsody for piano and small orchestra." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/ahn-kim%5Fyong%5Fhee/index.htm.

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Thesis (M.M.)--University of North Texas, 2001.
For piano and chamber orchestra (flute, oboe, clarinet, bassoon, trumpet, timpani and strings). Duration: ca. 9:00. Includes bibliographical references (p. xxxviii).

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Wen, Bihe. "Sonic "Alchemy": An Original Composition for Piano and Electronics with Critical Essay." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248402/.

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This paper presents the history and the theoretical study of mixed music and focuses on two piano solo works and two mixed electroacoustic compositions for piano and electronics. By discussing the working process and giving the analysis of the original composition Alchemy for piano and electronics, this paper investigates the relationship between cause, source and spectromorphology, reflecting how the concept of energy-motion trajectory are embodied in this mixed electroacoustic work. Alchemy is a mixed composition for piano solo and 8-channel fixed electronics focusing on the gestural play and sonic expression. The live piano part explores the gestural sound played with a slide (cup), paper clip, and objects placed inside the piano. The 8-channel electronics part is mainly derived from the recorded acoustic piano. It extends the sonic potential of source materials and presents the diverse vectorial movements of spatialization.

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Picton, Michael. "Curio shop, concerto for piano and chamber orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29856.pdf.

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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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Buchanan, J. Paul. "Information Structures in Notated Music: Statistical Explorations of Composers' Performance Marks in Solo Piano Scores." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849733/.

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Written notation has a long history in many musical traditions and has been particularly important in the composition and performance of Western art music. This study adopted the conceptual view that a musical score consists of two coordinated but separate communication channels: the musical text and a collection of composer-selected performance marks that serve as an interpretive gloss on that text. Structurally, these channels are defined by largely disjoint vocabularies of symbols and words. While the sound structures represented by musical texts are well studied in music theory and analysis, the stylistic patterns of performance marks and how they acquire contextual meaning in performance is an area with fewer theoretical foundations. This quantitative research explored the possibility that composers exhibit recurring patterns in their use of performance marks. Seventeen solo piano sonatas written between 1798 and 1913 by five major composers were analyzed from modern editions by tokenizing and tabulating the types and usage frequencies of their individual performance marks without regard to the associated musical texts. Using analytic methods common in information science, the results demonstrated persistent statistical similarities among the works of each composer and differences among the work groups of different composers. Although based on a small sample, the results still offered statistical support for the existence of recurring stylistic patterns in composers' use of performance marks across their works.

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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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Young, Kar-fai Samson, and 楊嘉輝. "Internationalism, individualism and Chinese national style: the hybrid-identity composer and the in-between space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37095110.

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Brown, Jason Edward. "Santa Claus: : an opera in one act." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221296.

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The musical structure of Santa Claus is similar to Alban Berg's statements about his opera Wozzeck, that the audience does not need to be aware of the underlying processes that are in motion.Seen from the highest level of stratification, Santa Claus the opera is essentially a single sonata-allegro movement. The first scene is the exposition, scenes two through four are the development, and the fifth scene the recapitulation. Also at this level can be seen the overall arch shape of the formal structure. This arch reflects not only the melodic material, but tempo, texture, and structural design.At the next level of stratification each of the five scenes is a movement of a fivemovement sonata form. The first scene is a sonata-allegro form. The second scene is a scherzo and trio with a repetition of the scherzo during the interlude. The third scene is a fantasy and canon; the fourth scene is an Adagio in ABA form. And lastly the fifth scene, again not strictly a sonata movement, contains an aria and a march and trio.The third layer of stratification is the continuous development and variation of four melodic/harmonic units. The development of these units forms the structural base of the entire opera at both the local level and the global level, and it is through this process that the both global and local structures can be identified.
School of Music

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Anderson, Jonathan Douglas. "The Creative Process in Cross-Influential Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28386/.

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This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.

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Cheng, Yu-sum Anthony, and 鄭汝森. "An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.

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Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.

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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.
The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.
"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.
'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

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Magalhaes, Luis Miguel de Araujo, and Arnold 1874-1951 Verklärte Nacht arr Schoenberg. "Arnold Schönberg's Verklärte Nacht [music] : transcription for two pianos." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/52692.

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Thesis (M. Mus.) -- University of Stellenbosch, 2002.
Full text to be digitised and attached to bibliographic record.
ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The transcriber cannot imagine how the composer would have done a similar transcription, but the intentions of the composer in the original version can be interpreted and transferred in a stylistically acceptable manner. At all times the possibilities of the instruments should be taken into consideration. Given the complex sound texture of the original version, the suggestions for a twopiano version have to incorporate the following: note length and rest length, sound colour, attack/articulation, bowing, articulation markings, effects and texture. In the assignment an explanation is given of the deviations that stem from the above factors. The awareness of these deviations necessitates a distinction between arrangement and transcription and compels the transcriber to be as faithful to the original score as possible. The explanation of deviations further provides the performer with an awareness of the artistic possibilities that the work provides.
AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die tweeklavier-literatuur. Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op 'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die instrumente moet ook te alle tye in ag geneem word. Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe, fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings, effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die artistieke moontlikhede van die werk.

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Archambault, Étienne. "Sans étoiles du continu et du discontinu : essai sur les modalités de transition et d'incidence." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112609.

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Sans etoiles is a musical composition in three movements written for clarinet, horn, violin, cello and piano. This essay deals with the principal characteristics of the musical material used in the piece, the modalities governing transitional processes and the influence of these factors on memory and the perception of musical time. The artistic project gave way to a reflection on the directional aspects of music in order to establish transitional links between independent musical entities defined as 'musical objects'. The main transitional agent between these entities consisted of an autonomous musical layer bearing an exclusive impact on the surrounding musical context. The harmonic network of the piece, a set of interchangeable chord progressions, was conceived from the self-replication of a three-note cell. Each movement of the final work proposes a unique approach to musical time.

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Vaughn, Mark. "Monolith: A Piece for Midi Piano, Mixed Sextet, and Fixed Electronics." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011853/.

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Reference to a regular pulse is one of the most common ways of measuring time in music. As the basis for tempo, meter, subdivisions, and even formal symmetry, pulse, or the sonic articulation of regular units of time, is found throughout all levels of music. In this paper, I describe how I used a structure of twelve simultaneous pulses to compose "Monolith," a recent piece for MIDI piano, Pierrot ensemble, and fixed electronics. In the first chapter, I contextualize "Monolith" by briefly examining pulse's relationship to hierarchical structure in music and the possibilities for creativity in pulse-based hierarchical structures. In the second chapter, I analyze the use of pulse in Steve Reich's "Music for 18 Musicians," György Ligeti's "Self-portrait with Reich and Riley (with Chopin in the background), and Conlon Nancarrow's "Study No. 36 for Player Piano." In the third chapter, I describe in detail the relationship between the twelve-pulse structure and the various movements that comprise "Monolith," focusing on the relationship between compositional freedom and prescribed structure throughout the work.

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Wang, Jing. "Cultural and technical perspectives on Winter landscape." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12212.

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For flute, piano, erhu, and Max/ISP interactive computer music system. Duration: ca. 15:00. System requirements: Adobe Acrobat Reader. Includes notes for performance. Includes bibliographical references (p. 94-96).

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Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.

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Cheng, Chien-Wen. "Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

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Fateeva, Anna A. "Three Arias From Mozart’s Don Giovanni: a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

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Alonso, Orlay. "Illuminated Scores and the Architectural Design of Musical Form." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429802524.

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Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

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Baril, Félix Frédéric. "Dérèglement passager de corps hétérogènes : le concept d'organisme musical et la métaphore du virus : étude sur les possibilités de développement organique du matériau musical." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100751.

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Dereglement passager de corps heterogenes is a work for flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), horn, piano, violin, cello and contrabass which explores the concept of "virus" within a musical form similar to the theme and variations. During its elaboration, I imagined what could metaphorically be the effects of different virus on what I define as "musical organisms". This idea suggested a number of variations that could serve as laboratories to experiment different levels of interaction between the virus and the musical organisms. This thesis consists of the musical score and a detailed analysis.

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Carter, Duane Martin. "Writing for musical theatre: Forever yours." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1590.

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Isaza, Velasquez Alejandra. "The musical construction of the nation : music, politics and state in Colombia 1848-1910." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-musical-construction-of-the-nation-music-politics-and-state-in-colombia-1848--1910(41f7f18a-7413-4b88-ba56-ce8c30857a6b).html.

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In this thesis I explain how Western art music gained a political, social and cultural role in Colombia during the decades that spanned from 1848 to 1910. This analysis engages the different attributes that Colombian political and cultural leaders of the time ascribed to art music in order to integrate it as part of their projects of Nation and confronts them with what is known about traditional music practices. In doing so, I explain discourses and social practices that developed around and because of the integration of art music to urban life in Colombia during the period of research. The purpose of this analysis is to elucidate the processes and contradictions that characterized the social practice of art music in Colombia as well as the limitations of the implementation of art music as an inclusive practice during the second half of the nineteenth century. This last notion underlies cultural policies implemented during present times and highlights the contradiction between art music as an exclusive social practice and the political discourse about art music as a space for learning democratic republican values.

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Brugarolas, Bonet Oriol. "El piano en Barcelona (1790-1849): construcción, difusión y comercio." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/362654.

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Entre 1790 y 1849 se generalizó el uso del piano en Barcelona. Pruebas de ello son el desarrollo de la actividad constructiva de pianos, el aumento de la edición y la venta de partituras y la publicación de métodos pedagógicos para este instrumento, el incremento de la demanda de la enseñanza musical privada, así como el aumento de la compraventa de pianos e incluso de la introducción de novedades industriales en la fabricación de planos. El piano en tanto objeto musical sintetiza todos los cambios de la sociedad moderna: participó en los procesos industriales más activos y a la vez se impuso musicalmente con un inmenso poder social; por este motivo, para comprender en su conjunto la evolución del piano no solo es necesario adentrarse en aspectos culturales o estrictamente musicales, sino también tener en cuenta factores económicos, sociales y fenómenos globales, como el avance de la ciencia y la tecnología. Así pues, la presente TESIS DOCTORAL tiene dos propósitos básicos: por un lado, indicar los hechos musicales, culturales y sociales que justificaron la difusión del piano y la normalización de su utilización en la Barcelona de finales del siglo XVIII y de la primera mitad del siglo xix; por otro, determinar la penetración social del piano en la sociedad barcelonesa de 1790 a 1842, es decir, dilucidar los tipos de pianos que se construían y se vendían, qué precios se pagaban por ellos y quién los adquiría y por qué. Este proceso de implantación y difusión del piano en Barcelona se enmarca en un contexto más amplio, puesto que fue un fenómeno de gran impulso europeo y norteamericano y definió las características del piano romántico, convirtiendo a este instrumento en el más representativo de este movimiento.
Between 1790 and 1849, the use of the piano in Barcelona became generalised. This is evident in the development of the piano manufacture activity, increased edition and sale of sheet music and the publication of pedagogical methods for this instrument, increased demand for private music lessons, as well as increased sales of pianos and even the introduction of industrial innovations in the manufacture of pianos. The piano as a musical instrument synthesises all of the changes in modern society, it took part in the most active industrial processes and at the same time it took over musically with an immense social power. For this reason, to understand the evolution of the piano as a whole it is not only necessary to focus on cultural or strictly musical aspects, but also to consider economic and social factors and global phenomena, such as the scope of science and technology. Thus, this doctoral thesis has two basic objectives. On one hand, to indicate the musical, cultural and social events that justified the distribution of the piano and the standardisation of its use in Barcelona at the end of the 18th century and the first half of the 19th century. On the other, to determine the social penetration of the piano in society in Barcelona from 1790 to 1842, i.e., to elucidate the types of pianos that were manufactured and sold, what prices were paid for them, who purchased them and why. This process of introduction and promotion of the piano in Barcelona is included in a larger context, given that it was a phenomenon that was largely driven by Europe and North America and defined the characteristics of the romantic piano, converting this instrument into the most representative of this movement.

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Lee, Terry Alan. "Grancloud, a real-time granular synthesis application and its implementation in the interactive composition Creo." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12151.

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For flute, violin, French horn, piano, and live electronics. Includes graphic notation for computer. Includes performance notes. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 93-94).

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Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.

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My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.

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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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Kim, Soulhyang. "Scores : Requiem (2003) : Seven rhythms (2003-04) : Let us memorize the multiplication table! (2004) : Kaleidoscope (2005) : Croquis (2005-06) : Wildflowers (2005-06) : Concerto for piano and orchestra (2005-06)." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432784.

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Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.
Arts, Faculty of
Music, School of
Graduate

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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 antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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Li, Chenyin. "Piano performance : strategies for score memorisation." Thesis, City University London, 2007. http://openaccess.city.ac.uk/8530/.

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Accurate live performance demands that player equip him/herself with a secure memorisation of the work. Most professional pianists are familiar with the four aspects of music memory, namely Kinaesthetic, Aural, Visual and Analytical Memories. However, these may not be enough in themselves to ensure freedom from momentary memory lapses on the stage. After a discussion of issues concerned with psychological memory and music cognitive memory, the dissertation outlines a memory technique, here labelled MM, which draws on the use of music mnemonics. The technique is intended to help pianists retrieve relevant information as quickly and effectively as possible during the performance, therefore avoiding or minimising mistakes. Various types of music mnemonics which the author has herself used are identified. Following this is an account of a project undertaken by the author which involved the examination of the memorisation techniques of five professional pianists while learning two contrasting pieces. The extent to which they applied the MM technique, and the specific mnemonics described in the dissertation thus far, is examined closely. So is the effectiveness of the various mnemonics in dealing with very varied repertoires.

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Zamparas, Grigorios. "Beethoven's Piano Concerto in E-Flat WoO 4: A Piano Reduction of the Full Orchestral Score Based on Jon Ceander Mitchell's Reconstruction." Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/6.

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Beethoven wrote his earliest piano concerto, the Piano Concerto in E-Flat Major WoO 4, in 1784-85. The surviving manuscript copy contains the solo part complete and a piano reduction of all orchestral passages (Tutti) whenever the soloist is not playing. That manuscript also includes Beethoven's cues for an instrumentation consisting of strings, horns and flutes. Eminent Beethoven scholar Willy Hess completed his own reconstruction of the concerto in 1943. His version has been recorded three times, but only one is currently available on the Philips label (442580-2). The newest reconstruction of the concerto, created by Professor Jon Ceander Mitchell in 2003, is presented in this study in the form of a piano reduction (as a two-piano critical edition). This present edition, edited by Dr. Mitchell and the author of this essay, retains Beethoven's instrumentation and restores the endings of the second and third movements (which were changed by Willy Hess). This study also includes a piano cadenza for the first movement, which is a free composition by the author. It also discusses both available restorations of this work and some of the concerto's interpretative issues.

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Wang, Siying. "Computational methods for the alignment and score-informed transcription of piano music." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30885.

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This thesis is concerned with computational methods for alignment and score-informed transcription of piano music. Firstly, several methods are proposed to improve the alignment robustness and accuracywhen various versions of one piece of music showcomplex differences with respect to acoustic conditions or musical interpretation. Secondly, score to performance alignment is applied to enable score-informed transcription. Although music alignment methods have considerably improved in accuracy in recent years, the task remains challenging. The research in this thesis aims to improve the robustness for some cases where there are substantial differences between versions and state-of-the-art methods may fail in identifying a correct alignment. This thesis first exploits the availability of multiple versions of the piece to be aligned. By processing these jointly, the alignment process can be stabilised by exploiting additional examples of how a section might be interpreted or which acoustic conditions may arise. Two methods are proposed, progressive alignment and profile HMM, both adapted from the multiple biological sequence alignment task. Experiments demonstrate that these methods can indeed improve the alignment accuracy and robustness over comparable pairwise methods. Secondly, this thesis presents a score to performance alignment method that can improve the robustness in cases where some musical voices, such as the melody, are played asynchronously to others - a stylistic device used in musical expression. The asynchronies between the melody and the accompaniment are handled by treating the voices as separate timelines in a multi-dimensional variant of dynamic time warping (DTW). The method measurably improves the alignment accuracy for pieces with asynchronous voices and preserves the accuracy otherwise. Once an accurate alignment between a score and an audio recording is available, the score information can be exploited as prior knowledge in automatic music transcription (AMT), for scenarios where score is available, such as music tutoring. Score-informed dictionary learning is used to learn the spectral pattern of each pitch that describes the energy distribution of the associated notes in the recording. More precisely, the dictionary learning process in non-negative matrix factorization (NMF) is constrained using the aligned score. This way, by adapting the dictionary to a given recording, the proposed method improves the accuracy over the state-of-the-art.

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SIMONETTA, FEDERICO. "MUSIC INTERPRETATION ANALYSIS. A MULTIMODAL APPROACH TO SCORE-INFORMED RESYNTHESIS OF PIANO RECORDINGS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/918909.

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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that the performer wishes to achieve. Second, the Thesis describes further works aiming at the democratization of music production tools via automatic resynthesis: 1) it elaborates software and file formats for historical music archiving and multimodal machine-learning datasets; 2) it explores and extends MIP technologies; 3) it presents the mathematical foundations of the MIA framework and shows preliminary evaluations to demonstrate the effectiveness of the approach

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46

Jeoung, Ko Eun. "Bohuslav Martinů's Oboe Concerto, H. 353: A New Piano Reduction of the Orchestral Score." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752395/.

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Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.

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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 of twentieth-century music that use these concepts are analyzed in the essay.

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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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49

Vizcarra, Juan Guillermo. "Critical Study of Two Piano Transcriptions by August Stradal and the Transcriptions’ Sources: Alterations to the Score Based on Historical Evidence and Artistic Judgment." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801932/.

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The fact that a number of pianists of the past two centuries adapted, embellished, and rearranged piano works for performance, be these original works or transcriptions, has been well documented throughout history. This thought, in addition to the fact that Stradal’s scores needed revision, encouraged me to make alterations to Stradal’s transcriptions and served as a strong incentive to write the current study. In it, I will comment on the alterations performed to segments of Stradal’s piano transcriptions of Wagner’s Schluβ der letzten Aufzuges (End of the last Act) from Siegfried and Trauermusik aus dem letzten Aufzug (Siegfried’s Funeral March) from Götterdämmerung. These changes have the purpose of reflecting in the piano as closely as possible the sonorous reality of the transcriptions’ operatic sources and, by doing so, making Stradal’s arrangements more effective for performance.

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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.

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Dissertations / Theses on the topic 'Piano scores'

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