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Dissertations / Theses on the topic 'String orchestra'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Park, Soonhee. "Music for String Orchestra." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc1038813/.

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Music for String Orchestra is a work of approximately sixteen minutes duration for chamber orchestra. The work is scored for eight first violins, six second violins, four violas, four to six cellos and two to four double basses. The work is in three movements. Movement I is in a large three-part form, movement II a simple three-part form and the last movement is in a large three-part form. The first and last movements are unified by several aspects, while the second movement employs material that is independent of the first and last movements. The main difference between the three movements is that the first and last movements are based on a western music idiom and the second movement is rooted in a Korean music idiom.

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2

Stark, Bradley. "Seraph for piano and string orchestra." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44148.

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Seraph is a fifteen minute composition for piano and string orchestra. In addition to traditional musical techniques such as variation and passacaglia, the work employs a distinctive approach to phrase structure, form, harmony, and compositional technique. An ascending natural minor scale serves as the main theme while other melodies, textures, harmonies, and motives interact in counterpoint with the theme. In addition, the theme undergoes its own developmental transformations and modifications, and it influences a distinctive harmonic language featuring extended, non-traditional chords and progressions that rarely repeat. Musical phrases and secondary melodies are unusual in length and mostly avoid expectations of cadence, while metric instability occurs through frequent meter changes. In addition to variation technique, the musical structure features episodes that contrast in compositional design through the development of less prominent motives and differences in approach to harmony. The piano part was partly composed through the use of transcribed improvisation, which serves as a basis for the harmonic and motivic structures heard throughout the composition. The piano part also features complex rhythmic divisions and technical demands for the performer while interacting with the orchestra in a variety of textures. As a whole, the work possesses several features which contribute to an original style and aesthetic.

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3

Winders, Christopher. "Concerto grosso for string quartet and orchestra /." Digitized version, 2008. http://hdl.handle.net/1802/7635.

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Thesis (Ph. D.)--University of Rochester, 2008.<br>Duration: ca. 15:00. Includes program and performance notes. Accompanied by: Cycle of cycles : ordering principles suggested by George Perle's twelve-tone tonality / by Christopher Clay Winders (x, 45 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7635

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4

Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.

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Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.

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5

Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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6

Tseng, Su-ling. "Gerald Finzi's Concerto for clarinet and string orchestra /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983130.

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7

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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8

Williams, Blair A. "Rural School String/Orchestra Programs: Profile and Recommendations." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461086972.

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9

McBride, Michael A. (Michael Anthony). "Sinfonia." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501150/.

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Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.

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10

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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11

Brumbaugh, Sherron M. "High school string orchestra teacher as a career choice a survey of 11th and 12th grade high school string orchestra students in Texas /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20033/brumbaugh%5Fsherron/index.htm.

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12

Callen, Ian. "Why was I not Made of Stone." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/520.

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The original inspiration for this work came from Victor Hugo’s The Hunchback of Notre Dame when Quasimodo asks the gargoyles on the cathedral “Why was I not made of stone like thee?” as he watches Esmerelda ride off. This piece is an attempt to express the aspect of the human state contained in Quasimodo’s words. I believe that this piece succeeds in communicating both the innate humanity in the futile search for a state of invulnerability and the intrinsic value and beauty of despair. It is neither optimistic or pessimistic but rides a fine line between the two without being nihilistic. The purpose of tragedy is not to provide some test of character, nor is it always the result of someone’s failure. Indeed, just like Quasimodo, sometimes tragedy simply is and one must try to bear it without the armor of the gargoyles of Notre Dame.

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13

Morris, Timothy Lane. "Atmosphantoms." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500255/.

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This work for harp and string orchestra uses musical materials derived from a chord taken from the lydian mode. The three major formal divisions are A, B, and A'. The A and A' sections are more homophonic in texture and slower in harmonic rhythm. The B section is mostly contrapuntal. Sections A and A' are dreamy and dance-like while the B section is turbulent and unrestful. These characteristics are represented by sustained sonorities, twoagainst- three rhythmic configurations, and lilting melodic materials in sections A and A', as opposed to the fragmented, ever-changing melodic material of the B section. The interweaving of the musical materials into a consummate form represents the conversations, personalities, and exploits of these Atmosphantoms, giving the music its philosophical and conversational character.

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14

Weikel, Anthony L. III. "Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.

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15

Schnittgrund, Tammy Lynn. "Middle school string improvisation and composition a beginning /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-07162007-160203/.

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16

Fu, Wing Man. "A Case Study of an Award Winning Public School String Orchestra Program." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242663220.

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17

Wyder, Gretchen E. "The History of The Ohio State University Symphony Orchestra and String Faculty." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391766067.

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18

Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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19

Turini, Steven M. "Development of a Curriculum for a First-Year Beginning String Class." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182096786.

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20

Widstrand, Alex Christopher. "Lev Konstantinovich Knipper's concerto for bassoon and string orchestra: introduction and critical performing edition." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6338.

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Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In order to facilitate this concerto’s incorporation into the standard bassoon repertoire, the present study has produced the first-available critical edition of the score, piano reduction and solo bassoon part to this concerto. The edition is framed by a concise biography of the composer, including an overview of his various compositional style periods, historical background on the concerto itself and an assessment of its musical contents.

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21

Griffin, Sean Franz Patrick. "Snow Queen : in the halls of the Snow Queen and what finally happened there /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099919.

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Thesis (Ph. D.)--University of California, San Diego, 2003.<br>Vita. For 6 solo sopranos, women's chorus, string orchestra, percussion, harp, piano, and celesta. Accompanying tape includes recording of work.

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22

Koepp, Ronna Adema Fredrickson William E. "The effect of using a two-string teaching method versus a four-string teaching method on the performance of beginning fourth-grade orchestra students." Diss., UMK access, 2004.

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Thesis (M.M. Ed.)--Conservatory of Music. University of Missouri--Kansas City, 2004.<br>"A thesis in music education." Typescript. Advisor: William E. Fredrickson. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 46-47). Online version of the print edition.

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23

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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24

Bell, Jennifer L. "DETERMINING ELEMENTARY, MIDDLE, AND JUNIOR HIGH SCHOOL ORCHESTRA DIRECTORS' PRESENTATION SEQUENCE OF TECHNICAL SKILLS TO BEGINNING AND INTERMEDIATE STRING STUDENTS." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1174926712.

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25

Williams, Elizabeth Anne. "Investigating the Motivations, Musical Goals, and Preferences of Adults Learning Orchestral String Instruments in Community Music Classes." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510273876882954.

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26

Rhyneer, Barbara L. "A study of student attitudes, musical backgrounds, and immediate situations that affect string participation in the university orchestra." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1247900.

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The purpose of this study was to examine student attitudes, musical backgrounds, and immediate situations that affect string participation in the university orchestra. Two groups of university students located mainly in the Great Lakes Region were surveyed via an online website: 1. orchestra participants with high school orchestra experience (n=103), and 2. orchestra non-participants with high school orchestra experience (n=28).Findings in this study include differences between participants and non-participants concerning their decision to seek membership in the university orchestra. Commonalities between orchestra members with regard to their participation were found, while non-participants were found to differ from each other according to their reasons for non-participation.String players that have continued to participate in orchestra ensembles at the university level are likely to have more performance experiences in their background, especially in high school. Parental encouragement, private lessons, and participation in solo and ensemble festival are factors that affect participation. Positive attitudes such as the value of participating in a music ensemble, the enjoyment of playing in an orchestra, and confidence as a string player are also strong factors. Secondary influences may involve the invitation of a friend, director, and the offering of a scholarship. University orchestra members continue to enjoy their experience participating and work rehearsals into their busy schedule. Non-members are aware of the university orchestra but do not possess standard reasons they do not participate with regard to their attitudes and immediate situations. Reasons for not participation appear to vary from individual to individual.String players who continue to perform beyond high school by becoming a university orchestra member place a stronger value on participation, which is originally influenced by background experience and parental encouragement. It is likely university orchestra non-participants failed to cultivate these values strongly, and have shed activities which include music involvement which may have been more influenced by friends and parents at a younger age.University orchestra directors may positively influence string player participation by supplying high school students with more performance experiences, and aggressively marketing the orchestra program to university students. Coordinated efforts with high school directors to provide young students with experiences (i.e. youth orchestras and string camps) that have a positive lasting impression may be one way to increase orchestra participation beyond high school. Directors may also consider brainstorming creative ways to market and advertise the university orchestra to reach the attention of the non-major who may be interested if given enough encouragement.<br>School of Music

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27

Mowery, Ward Franklin. "An investigation of the relationship between selected personality variables and retention of students in the string orchestra program /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848531362534.

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28

Scruggs, Bernadette Butler. "Learning outcomes in two divergent middle school string orchestra classroom environments a comparison of a learner-centered and a teacher-centered approach /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-11242008-152649/.

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Thesis (Ph. D.)--Georgia State University, 2008.<br>Title from file title page. David E. Myers, Dana L. Fox, committee co-chairs; Marilyn Seelman, Carolyn Furlow, Phillip Gagne, Patrick K. Freer, committee members. Description based on contents viewed Aug. 6, 2009. Includes bibliographical references (p. 188-200).

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29

Reed, Marc Allen. "An historical and stylistic examination of Charles Chaynes' Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3924/.

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Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconceptions when interpreting these pieces. The thirty-nine year gap between Chaynes' Trumpet Concerto No. 1 and Trumpet Concerto No. 2 is a remarkable time span between major compositions, and examining the works gives insight to the evolution of the trumpet concerto throughout the twentieth century. This project highlights Charles Chaynes' contribution to the trumpet repertoire from both the beginning and end of his compositional career, and fills the research gap concerning his concertos. It includes correspondence with Charles Chaynes and others, in order to gain information not found in common source materials. It highlights examples from each concerto that are representative of the composer's compositional style.

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30

Bell, Jennifer L. "Determining elementary, middle, and junior high school orchestra directors' presentation sequence of technical skills to beginning and intrmediate string students." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174926712.

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31

Latta, Jonathan Ryan. "Analysis and Informative Interviews to Aid in the Performance Practice of the Concerto for Marimba and String Orchestra by Eric Ewazen." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193767.

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ANALYSIS AND INFORMATIVE INTERVIEWS TO AID IN THE PERFORMANCE PRACTICE OF THE CONCERTO FOR MARIMBA AND STRING ORCHESTRA BY ERIC EWAZENThe research found in this document will assist in a performer's preparation of Dr. Eric Ewazen's Concerto for Marimba and String Orchestra. In order to give an informed performance of the work, it is this author's belief that an understanding of the collaboration between the composer and the premiering artist, Ms. She-e Wu, as well as the impact Ms. Wu's artistry had on Dr. Ewazen is paramount. Also, knowledge of Dr. Ewazen's compositional style, reference to his other works for percussion, and an understanding of the structure of the work will assist future performers in demonstrating a well-versed and rewarding performance of the piece. This study presents insightful interviews from both the composer and the premiering artist. These interviews offer a wealth of understanding into the composition and performance of the work. The performance practice suggestions offer tools to interpret and prepare the piece. Though the Concerto may be a challenge for many marimbists, this author hopes that future performers find the rewards in this well-constructed and exciting work after reading this document.

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32

Zhu, Yanda. "Part I. Christmas Impressions for String Orchestra. Part II. An Analysis of George Gershwin's Piano Solo Version of Rhapsody In Blue." Youngstown State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1390514184.

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33

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

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34

Lewis, Lucy Karelyn. "A model for developing a holistic collegiate curriculum for string performance and pedagogy." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638399.

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<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra). </p><p> The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.</p>

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35

Scruggs, Bernadette Butler. "Learning Outcomes in Two Divergent Middle School String Orchestra Classroom Environments: A Comparison of a Learner-Centered and a Teacher-Centered Approach." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/music_diss/1.

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This study investigated whether and in what ways a learner-centered instrumental music education classroom environment may nurture musical growth and independence. The mixed-methods design incorporated quantitative and qualitative measures to compare performance outcomes, musical growth, and learner and teacher dispositions in learner-centered and teacher-centered middle school orchestra classrooms. Quantitative measures included a Performance Assessment Instrument and a researcher-designed survey of student perceptions and attitudes. Qualitative measures included classroom observation, student and teacher interviews, and teacher journal entries. Research participants were four teachers, two of whom taught using a teacher-centered approach, and two of whom were oriented to learner-centered classroom strategies through a professional development program taught by the researcher. The teachers implemented learner-centered or teacher-centered environments in four intact classrooms that included 155 student participants. Learner-centered methods were based on democratic (Dewey, 1938; Woodford, 2005) and constructivist (Vygotsky, 1978; Wiggins, 2001) principles as well as research and pedagogical literature detailing the characteristics of learner-centered classrooms (McCombs & Whisler, 1997; Schuh, 2004). These included peer tutoring and collaboration; student conducting, solicitation and incorporation of student input; and facilitation of student leadership. I found no differences in music performance outcomes between learner-centered and teacher-centered ensembles. However, learner-centered students exhibited increased musical growth and greater musical independence as compared with students in the teacher-centered environment, and indicated higher perceptions than teacher-centered students of choice and leadership opportunities in their classrooms. Learner-centered teachers reported increased engagement and leadership skills from their students. Results of this study indicate that music ensemble teachers can incorporate a learner-center classroom environment that engages students musically, promotes independence and leadership, and involves students in higher order thinking while attaining performance standards at or above those expected of middle-school orchestra students.

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36

Chang, Sangtae. "The Sonatas of Domenico Gabrielli (1651-1690) in San Petronio MSS G.I: 3-9." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500373/.

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Domenico Gabrielli's seven trumpet sonatas are among seventeenth-century trumpet repertoire predominant in the instrumental tradition of the basilica San Petronio, which flourished roughly from the election of Maurizio Cazzati as maestro di cappella in 1657 until the dissolution of the orchestra of the church in 1695. Fostered by numerous occasions for performance, the Bolognese trumpet works tend to exhibit a uniform musical style imposed by musical academies. After a discussion of the probable cause of the termination of the instrumental tradition and of the role of musical academies, this paper will be primarily concerned with formal aspects of fast movements of Gabrielli's sonatas. Despite the fact that the predominant organizing principle of the fast movements appears to be textural, a step toward ritornello form is taken in some of the movements, in which tutti and solo sections are independently developed. In particular, the recurrence of identical material in tutti confirming different keys, the thematic relation between tutti and solo, and the symmetrical and balanced tonal plan are unmistakable seeds of full ritornello form. The text is followed by critical notes and transcriptions of the seven sonatas.

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37

Rosen, Nevin Brian. "Part I The Seven Days of Creation For Narrator and String Orchestra Part II Shostakovich's Symphony No. 5, Movement 4: A Parametric Analysis." Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1253141186.

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38

Schnitman, Espindola Tatiana Maria. "Sonic Peace: An Antithesis to Sonic Warfare." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/993.

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Sonic Peace: An Antithesis to Sonic Warfare explores certain frequencies that have been associated with various healing qualities, and seeks to bridge the sounds of antiquity and modernity. The piece draws on numerology and symbolism and adopts a cross-cultural approach in an effort to advance a cohesive universal healing message. The text featured in the composition is original, except for the use of an ancient Japanese Shinto chant.

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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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40

Hedberg, Fredrik. "Hur övar proffsen? : En kvalitativ intervjustudie om professionella musikers övningsstrategier." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-42935.

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Syftet med detta arbete är att utifrån ett fenomenologiskt livsvärldsperspektiv, utforska hur några professionella musiker upplever att de går till väga under sina instuderingsprocesser. För att belysa detta tar arbetet avstamp i följande forskningsfråga: Vilka övningsstrategier beskriver några professionella musiker att de använder sig av när de tillägnar sig ett för dem nytt material? För att uppnå syfte och forskningsfråga har tre kvalitativa intervjuer genomförts med tre professionella musiker. I resultatet framkommer en rad olika strategier vilka sorterats in i fem meningsenheter: Dagliga tekniska övningsstrategier, Noggranna förberedelser, Tidsplanering, Övriga strategier och Strävan efter utveckling. I diskussionen sätts dessa strategier i relation till bakgrundslitteratur och forskning samt till fenomenologi.<br>Syftet med detta arbete är att utifrån ett fenomenologiskt livsvärldsperspektiv, utforska hur några professionella musiker upplever att de går till väga under sina instuderingsprocesser. För att belysa detta tar arbetet avstamp i följande forskningsfråga: Vilka övningsstrategier beskriver några professionella musiker att de använder sig av när de tillägnar sig ett för dem nytt material? För att uppnå syfte och forskningsfråga har tre kvalitativa intervjuer genomförts med tre professionella musiker. I resultatet framkommer en rad olika strategier vilka sorterats in i fem meningsenheter: Dagliga tekniska övningsstrategier, Noggranna förberedelser, Tidsplanering, Övriga strategier och Strävan efter utveckling. I diskussionen sätts dessa strategier i relation till bakgrundslitteratur och forskning samt till fenomenologi.

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41

Kim, Youngkyong Kim Youngkyong. "Volume I. Reconciliation a study of words and music in Schoenberg's Pierrot lunaire, Stravinsky's Symphony of psalms and Requiem canticles, and Britten's War requiem ; Volume II. Eo-meo-ni = (Mother) (o̳-mo̳-ni) : for medium voice and string orchestra /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512491&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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42

Pedro, Renato Cardinali 1981. "Uma orquestra de viola caipira do município de São Carlos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284491.

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Orientador: José Roberto Zan<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T23:24:52Z (GMT). No. of bitstreams: 2 Pedro_RenatoCardinali_M.pdf: 4003211 bytes, checksum: c177a9a4597ecda867aec690a1740dbf (MD5) Pedro_RenatoCardinali_Anexo.zip: 93548042 bytes, checksum: ed20c54416700bf4929a3073e2fb3a5b (MD5) Previous issue date: 2013<br>Resumo: Este trabalho é resultado da pesquisa realizada sobre a Orquestra Amigos Violeiros de São Carlos, uma formação musical de caráter social sem fins lucrativos, que se dedica à prática da viola caipira. O enfoque principal foi investigar como o envolvimento com a Orquestra ativa aspectos de identificação destes sujeitos com a cultura caipira e a música sertaneja. Para tanto, utilizamos os métodos etnográficos e etnomusicológico que busca compreender os sentidos das ações dos sujeitos envolvidos nessa formação musical, suas representações e prática musical. Os procedimentos realizados para a coleta dos dados foram observações participantes dos ensaios e apresentações do grupo, registradas em caderno de campo, entrevistas e gravações de áudio e vídeo. Além disso, abordamos aspectos históricos da viola, da cultura caipira, do segmento musical sertanejo, bem como da formação e desenvolvimento da Orquestra. A partir das análises dos dados, foi identificado como o envolvimento dos integrantes com o grupo e com sua prática musical ativa aspectos de identificação destes sujeitos com o que consideram ser a cultura caipira<br>Abstract: This work is the result of the research conducted on the Orchestra Amigos Violeiros of São Carlos. A non-profit and social musical formation dedicated to the practice of Brazilian ten-string guitar. The main focus was to investigate how the involvement with the Orchestra activates identification aspects of these subjects with the caipira culture and Brazilian country music. Therefore, it was used ethnographic and ethnomusicological methods that seeks to understand the meanings behind the actions of those involved with the musical formation, its representations and musical practice. The procedures carried out for data collection were participant observation of rehearsals and performances of the group, recorded in the field notebook, interviews and audio and video recordings. Besides, it was discussed historical aspects of the viola, the caipira culture, the Brazilian country musical segment as well as the formation and development of the Orchestra. From the data analysis, it was identified how the involvement of the members in the group and their musical practice activates identification aspects of these subjects with what they consider to be the caipira culture<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música

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Normand, Daniel. "Grâce à trois, Revue de presse : 9 septembre 1996 ; Transformations vernales : oeuvres musicales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33726.pdf.

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McIntyre, Scott. "Folio of compositions 2008-2009." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7046.

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Lopes, José Nilson. "Cantoria, para viola sertaneja e orquestra de cordas: desenvolvimento de processos composicionais referenciados na cantoria de viola." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6594.

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Made available in DSpace on 2015-05-14T12:52:26Z (GMT). No. of bitstreams: 1 Artquivototal_Parte1.pdf: 7920538 bytes, checksum: 552ff2db13912bc654c8d57525f9ae8f (MD5) Previous issue date: 2011-01-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work deals with the principles and compositional techniques employed in Cantoria, for ten-string Viola Sertaneja and String Orchestra, composed of three movements, with approximate duration of 14 minutes. The work uses a compositional language developed from stylistic, melodic and rhythmic elements from Cantoria de Viola Nordestina. In the musical discourse of the first two movements, the viola sertaneja and the string orchestra are treated as distinct dramatis personae that interact with each other in several ways simulating certain acoustic effects through orchestration. In the third movement, they interplay according to the principle contained in the Desafio (kind of Cantoria de Viola).<br>Este trabalho se refere aos princípios e técnicas composicionais empregados na peça Cantoria, para Viola Sertaneja de 10 cordas e Orquestra de Cordas, composta de três movimentos, com duração total aproximada de 14min. A obra utiliza uma linguagem composicional desenvolvida a partir de elementos estilísticos, melódicos e rítmicos da Cantoria de Viola Nordestina. No discurso musical dos dois primeiros movimentos, a viola sertaneja e a orquestra de cordas são tratadas como dramatis personae distintas que interagem mutuamente de diversas formas simulando determinados efeitos acústicos através de recursos de orquestração. No terceiro movimento, elas se contrapõem baseadas no princípio da disputa contida no Desafio (modalidade da Cantoria de Viola).

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Costa, Anthony J. "A bibliography of chamber music and double concerti literature for oboe and clarinet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117551575.

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Thesis (Ph.D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center

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Manning, Dwight C. (Dwight Carroll). "A Study of the Oboe Concertos of Johann Friedrich Fasch with a Performing Edition of Oboe Concerto in G Major (Küntzel 8) : A Lecture Recital Together with Three Other Recitals of Selected Works of Handel, Mozart, Bellini, Poulenc, Britten and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278576/.

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Johann Friedrich Fasch's music displays a stylistic variability characteristic among some composers of the early eighteenth century, a time in which the mature Baroque style period of Western art music was beginning to show new elements of the Classical style. Opinions regarding Fasch's contribution vary from praise for his role as one of the most important pioneers to simple acknowledgment as merely one among many significant, forward-looking, transitional composers. During the early eighteenth century, a wealth of fine literature for solo oboe was produced. Current oboe repertoire includes many standard, mature Baroque concertos of the early eighteenth century; few works representative of evolutionary compositions hinting toward the development of a new historical style period are available. The primary purpose of the lecture recital is to introduce to the oboe repertoire an edition of a concerto by Fasch, one representative of the transition from Baroque to Classical eras.

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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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Simpson, Stacy L. "MUSIC FOR BRASS QUINTET WITH ORCHESTRAL ACCOMPANIMENT: COMMISSIONED WORKS, THE ANNAPOLIS BRASS QUINTET, AND A SURVEY OF LITERATURE FOR BRASS QUINTET AND ORCHESTRA." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/67.

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Today’s leading brass chamber ensemble is the brass quintet, whose inception was relatively late compared to the string quartet or woodwind quintet. The first modern brass quintet formed in the 1950s, while the first string quartet can be traced to the 17th century. Compositions for woodwind quintet were written as early as 1811 during the Classical Period. The New York Brass Quintet, American Brass Quintet, and Annapolis Brass Quintet commissioned a large portion of the currently existing brass quintet literature. The literature grew exponentially as the brass quintet became popular in the 1960s. Also during this time, a new genre of works emerged for brass quintet with orchestral accompaniment. The paper references fifty-seven works for the brass quintet with orchestral accompaniment that were found through music catalogues, reviews, recordings and searching JSTOR, World Cat and Google. Since the author was not able to discover any scholarly treatment of this genre, this paper will address the gap and unearth the quantity of literature available. Many of these works are unrecorded. While there are many existing scores in the literature, there is a resurgence of compositions currently being written for brass quintet with orchestral accompaniment. This document is presented in two parts: Part I, “Overview of Brass Chamber Music in the Twentieth Century,” “Earliest Music in the United States for Brass Chamber Ensembles,” “A Brief History of the Modern Brass Quintet,” “Annapolis Brass Quintet,” and “A Survey of Existing Works for Brass Quintet and Orchestra.” The second part of this dissertation contains materials which are pertinent to the Doctor of Musical Arts Degree which include recital programs, program notes, and vita.

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Stulman, Timothy A. "Si Ji Tu." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151329272.

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