Relevant bibliographies by topics / Quartets (Piano, percussion, violin, violoncello)

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Academic literature on the topic 'Quartets (Piano, percussion, violin, violoncello)'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Dissertations / Theses on the topic "Quartets (Piano, percussion, violin, violoncello)"

1

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 jazz and classical compositional techniques into a hybrid style.
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2

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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3

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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4

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.
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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5

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.
Vita. For flute, violin, clarinet, violoncello, piano, percussion, and tape. Includes program notes and performance instructions preceding score.
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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/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces” are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.
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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.
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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8

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.
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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9

Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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10

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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Thesis (M.M.) Florida State University, 2005.
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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Books on the topic "Quartets (Piano, percussion, violin, violoncello)"

1

Amram, David. Portraits: Violin, viola, violoncello, and piano. New York: C.F. Peters, 1987.

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2

Amram, David. Portraits: Violin, viola, violoncello, and piano. New York: C.F. Peters, 1987.

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3

Chou, Wen-Chung. Windswept peaks: Clarinet, violin, violoncello, and piano. New York: C.F. Peters, 1995.

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4

Festinger, Richard. Septet, flute, clarinet, violin, viola, violoncello, percussion and piano. New York: Henmar Press, 1994.

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5

Ung, Chinary. Child song: (version I) : flute, violin, violoncello and piano. New York: C.F. Peters, 1995.

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6

Lazarof, Henri. Concertante II: For flute, oboe, clarinet, percussion, piano, violin, violoncello, contrabass. Bryn Mawr, Pa: Merion Music, 1989.

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7

Festinger, Richard. A serenade for six: Flute, clarinet (bass clarinet), violin, violoncello, percussion, and piano. [New York?]: Henmar Press, 1996.

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8

Grainger, Percy. Handel in the Strand: Clog dance for violin, viola, violoncello, and piano. Miami Lakes, Fla: Masters Music Publications, 1989.

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9

Bauer, Ross. Ritual fragments: Soprano, flute (piccolo, alto), clarinet (bass clarinet), violin, violoncello, percussion, and piano. New York: C.F. Peters, 1996.

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10

Kreiger, Arthur. Meeting places: Flute (alto flute), clarinet (bass clarinet), piano, percussion, violin, violoncello, and tape. New York: C.F. Peters, 1996.

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