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Lee, Mei-ling. "Symphony for orchestra /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343171&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Morell, Justin 1973. "Symphonies -- Scores and parts." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11058.
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1 score (xvii, 233 p.)<br>Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination.
Composers have sometimes turned to mathematics as a tool for generating art though the systematization of musical elements. However, music often suffers from the conscious attempt by composers to bring it closer to the world of science and math through the serialization of musical material. This does not mean that mathematics and science do not play an important part in music of great expression. To be sure, composers have used simple mathematical concepts to discuss, analyze, and create music at every stage, whether consciously or unconsciously, since the beginning of Western music.
These ideas are at the very heart of the great music of previous centuries, even if we celebrate those works more for their intrinsic beauty than their rational mechanics. It is the inventiveness and creativity that we find easy to value in music, but the science behind it also makes its creation possible.
My symphony pays tribute to the marriage of creativity, not process, in scientific and musical thought, using the words of scientists and mathematicians as poetic texts, which generate musical imagery. I have chosen a series of quotations by notable scientists and mathematicians throughout history, which serve as textual introductions for each movement of the six-movement, approximately forty-five minute orchestral symphony. Each quotation makes reference to a specific scientific or mathematical discovery of its writer, or displays an aspect of his philosophy. The ideas expressed in the quotations serve as abstract inspiration and suggest musical imagery for each respective movement.<br>Committee in Charge: Dr. Robert Kyr, Chair;
Dr. David Crumb;
Dr. Jack Boss;
Dr. Marilyn Linton
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Kimmel, Tyler T. "Hermes, a Concerto for Violoncello and Orchestra." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1542.
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This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.
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Ring, Gordon L. (Gordon Lee). "Symphony No. 1 "Concertante"." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331555/.
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Symphony No. 1 "Concertante" is a work of approximately twenty-two minutes duration for chamber orchestra. The work is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bassoon, trumpet, F horn, trombone, tuba, percussion, harp, piano (doubling celesta), solo violin, solo viola, solo cello, solo double bass, and strings.The percussion battery, which is to be played by one performer, includes three timpani, vibraphone, orchestra bells, xylophone, chimes, suspended cymbal, bass drum, snare drum, and two triangles. One group of instruments, including the eight winds, percussion, and the four solo strings, is treated primarily in a soloistic manner although it also functions as a part of the ensemble. The remaining group, piano, harp, and strings, functions primarily as an accompanying group although it does get some soloistic treatment. The work is in four movements, each of which uses the traditional symphonic form. Movement I is in sonata-allegro form, movement II a simple ternary "song" form, movement III a scherzo and trio, and the final movement is a theme and variations. These traditional forms apply only to thematic use and development, however, for the tonal scheme is developed in a broader design which unfolds throughout the course of the four movements. All important melodic ideas are based on the same pitch set that serves as the basis for the tonal scheme.
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Meilstrup, Sharon. "Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2309.
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The Czech composer Paul Wranitzky (1756–1808) worked primarily in Vienna during the height of musical Classicism. He was well-respected among the higher artistic circles during his day as a composer, violinist, and conductor. His excellence in conducting was recognized by Haydn and Beethoven. His compositions were favored by Empress Marie Therese. Despite his contemporary fame and esteem, his works are relatively unknown today. His works are being revived today, bringing these once popular compositions back to the public. This thesis presents a critical edition of Wranitzky's cello concerto in C Major, appearing for the first time in a scholarly edition. This will allow for its study and performance, and allow musicologists to determine Wranitzky's influence on Viennese string and orchestral music.
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Weaver, Jennifer L. "Structural Octatonicism in Cindy McTee's Symphony No.1: Ballet for Orchestra." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3905.
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Schropp, Jeremy. "Symbolist Symphony for Orchestra." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12105.
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1 score (x, 113 p.)<br>The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work.
My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening).<br>Committee in charge: Dr. David Crumb Chairperson, Advisor，
Dr. Robert Kyr， Member；
Dr. Jack Boss， Member；
Dr. Jenifer Craig， Outside Member
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Lemieux, Glenn C. (Glenn Claude). "Sacred Symphony." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330973/.
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Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals.
The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.
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Hale, Jacquelyn. "Consonance, tertian structures and tonal coherence in Wladimir Vogel's dodecaphonic world." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/vogel%5Fwladimir/index.htm.
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Cho, Hyun Mi. "Luigi Boccherini's Cello Concerto in B-Flat Major, G.482: Creating a Performance Edition through a Critical Study of the 'Original' Version and Friedrich Grützmacher's Edition." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538651/.
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The Cello Concerto in B-flat major, G.482, by Italian composer Luigi Boccherini (1743-1805), is the composer's most beloved work for the instrument, as well as one of the most performed pieces in the Classical concerto repertoire. Historically, cellists performing this work have used an edition prepared by German cellist Friedrich Grützmacher (1832-1903). However, an 'original' version that was discovered in 1949 is significantly different from that of Grützmacher. A comparison of both editions has revealed that Grützmacher in fact made considerable modifications to Boccherini's 'original.' Along with the issue of having two editions, cellists that have played the 'original' edition have noted that there are certain practical and interpretative matters that are not favorable to the cellist, particularly in terms of the way the music is notated and how it lacks many details. This dissertation provides clarity to these issues by undertaking a comprehensive analysis of both editions in order to make cellists become aware of the differences between both editions by comparing musical elements from a performance practice viewpoint. In addition, I discuss relevant issues that are present in the 'original' version, ultimately providing an alternative performance edition to this score that is based on historically informed performance (HIP) practices. Finally, I hope to draw attention on how a performance edition like this can be useful as a rare critical source to one of the major works from the eighteenth-century cello repertoire.
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Boulan, Muriel. "La Symphonie française entre 1830 et 1870." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040107.
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Lorsque l’on évoque la symphonie en France au milieu du XIXe siècle, on ne retient généralement que le nom de Berlioz et l’on insiste sur une désaffection du genre tant de la part des compositeurs que du public. Pourtant, malgré un recul des créations, malgré le défi posé par l’héritage beethovénien et alors même que le contexte musical favorise principalement la scène lyrique, une soixantaine de compositeurs continuent à s’intéresser au domaine exclusivement instrumental de la symphonie et assurent le maintien d’un genre entre 1830 et la génération franckiste. Au-delà de son aspect historique, cette thèse vise à cerner les caractéristiques stylistiques de tout un ensemble d’œuvres, à les situer dans l’évolution d’un genre en les analysant à la fois par rapport aux normes viennoises, aux productions contemporaines germaniques et aux avancées plus générales du langage. Après une première partie centrée sur le contexte musical qui a vu naître ces symphonies, les enjeux pédagogiques qu’elles suscitent et le rôle décisif des sociétés orchestrales, l’analyse entre au cœur des partitions dans une démarche comparative à la fois quantitative et qualitative, depuis l’agencement interne des plus petits éléments musicaux jusqu’à la réalisation de la grande forme. À travers l’observation des pratiques globales et individuelles qui concourent à une réévaluation des normes, à la refonte ponctuelle mais progressive des cadres, se dégagent l’autonomie d’un genre par rapport à son modèle germanique et la permanence d’une école symphonique française tout au long du XIXe siècle<br>When one deals with the symphony in mid-19th century France only the name of Berlioz comes to mind and one emphasizes a disaffection for the genre among composers as well as audiences. However, despite fewer creations, despite the awe-inspiring Beethovenian legacy and despite the overwhelming place held by the operatic scene during those decades, some sixty composers around Hector Berlioz still devoted themselves to the purely instrumental genre and achieved the development of the symphony between 1830 and the Franckist generation. Beyond its historical relevance, this doctoral dissertation aims at defining the stylistic features of a corpus of symphonic works and at placing them in the evolution of the genre by analyzing them in relation to Viennese standards, to contemporary Germanic productions and to the more general innovations in the musical language. After first focusing on the musical context in which these symphonies were composed, on the pedagogic stakes entailed and on the decisive role of orchestral societies, the analysis will then closely examine the scores in a quantitative and qualitative comparative approach moving from the internal construction of the smallest musical elements to the completion of the large form. The autonomy of a genre distinct from its Germanic model and the permanence of a French symphonic school throughout the 19th century will emerge thanks to the observation of collective and individual practices which contributed to a reassessment of norms, to a selective but gradual revision of musical forms
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"A portfolio of music compositions." Thesis, 2012. http://library.cuhk.edu.hk/record=b5549034.
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這份作品集包括三首我在修讀碩士課程時的作品。這三首作品代表了我思索及尋找如何表達中國元素的過程。創作過程中，我特意集中於三方面：中國樂器的獨特音色、小型樂隊中樂手之間的親暱、及樂手自發的創造力。而在探索這三方面的同時，我嘗試保留在中國文學常見的表現力，從而創作出一個充分表達中國元素的作品。<br>在第一首樂曲《亂了殘紅》中，我嘗試探索胡琴的獨特音色，在單一的音色組合當中（四部胡琴）尋找音色上的細微變化。另外，我亦嘗試運用有較大自由的記譜法，在給予樂手空間的同時，令他們有緊密的合作，令團隊中有一種緊密而又自然的合作。<br>在《風刀霜劍》中，我將這記譜法更廣泛地運用，而透過這記譜法，我希望可以解放樂手的創造力，同時有效地運用在中國傳統音樂中常見的即興元素。另外，中國樂器有不少先天的限制，我在尊重這些限制的前提下，嘗試在正常以外的演奏技巧，以加強表現力。<br>此後，我將《風刀霜劍》的成果運用於《殘月葬花》，希望從而可以在西方樂器的組合上體現中國文化的影響。在前作的基礎上，顧及到西方音樂訓練中沒有即興演奏的習慣，在記譜上作出了調整，但仍然保留對音色轉變的敏感以及演奏者的自由與緊密合作。而在這些的技巧上，我希望仍然能夠表達一個屬於中國文化的境象，以此作為我對中國文化的回應。<br>The works included in this portfolio represent my continual effort to develop a solution for my search for an expression of my Chinese influences. I focus mainly on three aspects: the unique timbre of Chinese instruments, the intimacy of a small traditional Chinese music ensemble, and the spontaneity of individual performers. I attempt to include these three elements into my work while retaining an expressive quality that I find to be common in Chinese literature. The three works presented in this portfolio are my continual attempts to develop these ideas into a way of expression.<br>The first work in the portfolio, "Rummage through the Crimson", explores the unique timbre of huqin. The instrumentation (three erhus and one zhonghu) allows me to search for difference within a homogenous texture and thus to discover the timbral nuance available. I also experiment with a notation that at the same time allows freedom and requires cooperation among performers to create a cohesive and natural ensembleship.<br>The second work, "Slashes of Frost and Wind", extends the experimentation of notation to a greater scale. While using an ensemble of Chinese instruments, I try to utilize the freedom allowed by the notation to unleash the innate creativity of the performers and to evoke the improvisatory nature of their traditional playing. On the other hand, I explore the use of extended techniques while respecting the instrument's natural capabilities.<br>In "Flower Burial under a Pallid Moon", I attempt to transfer the findings from "Slashes of Frost and Wind" to a purely Western context, in the hopes of creating a piece of music that express Chinese elements while using Western instruments, so as to expand the expressive possibilities of such an ensemble. Many technical elements have been brought over, namely sensitivity to timbral nuance, improvisatory nature of the notation, and close cooperation while in a state of performance freedom. More suggestive descriptions are added to guide the performers in improvisatory passages. Most importantly, I retain a Chinese imagery that runs through the veins of all these three works. In essence, the technical attempts here merely try to approach a succinct expression of my Chinese influence.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Ting, Chung Wai.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2012.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts also in Chinese; includes Chinese.<br>Abstract --- p.i<br>Acknowledgement --- p.iii<br>Rummage through the Crimson --- p.1<br>Slashes of Frost and Wind --- p.16<br>Flower Burial under a Pallid Moon --- p.27
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"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.
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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.<br>Tang Lok-yin.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.<br>Librettos (1st work) in English ; abstracts in English and Chinese.<br>Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"<br>Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas<br>Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics<br>Chapter Composition 4 --- Playing Game for Orchestra<br>Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra<br>Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra
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Nerenberg, Mark. "Concerto for Cello, Orchestra, and Live Electronics." Thesis, 2013. http://hdl.handle.net/1807/35185.
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The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.
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Gutierrez, Alejandro. "Doctoral thesis recital (conducting)." 2011. http://hdl.handle.net/2152/16229.
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Pei-Yu, Chuang, and 莊佩瑜. "The Analysis and Performance Interpretation of Concerto of Khachaturian for Cello and Orchestra." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/39924121523827410200.
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Young, Nina C. "Recalling the Traces of Ancient Fires: Memory and Composed Reinterpretation in Vestigia Flammae for sinfonietta and Agnosco Veteris for orchestra." Thesis, 2017. https://doi.org/10.7916/D8348R2C.
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The musical portion of this dissertation is comprised of my two compositions: Agnosco Veteris, a fifteen-and-a-half-minute work for orchestra, written in 2015 for Robert Spano and the Aspen Philharmonic Orchestra; and its partner and template Vestigia Flammae, a fourteen-minute work for sinfonietta (fifteen musicians) written in 2014 for the Nouvel Ensemble Modern. The written portion of this dissertation is an accompanying essay that provides a conceptual and musical analysis of the partnered pieces. The essay situates the compositions within the context of my recent musical output by specifically focusing on a method I have heartily employed from 2011-16: the reuse of musical/sonic material through repetition, computer-aided manipulation, reorchestration, composed reinterpretation, and self-appropriation. Agnosco Veteris and Vestigia Flammae are partner works that engage with personal musical memories. I explain the desires behind, and the process of, transforming one piece into another. A section of the essay places this concept in the historical context of other composers who employ appropriation of material and methods of reorchestration to generate new works. I discuss my compositional process and style as an alloy of my musical genetic makeup – a mixing ground of my experience as a performer of the classical canon in dialogue with my affinity towards minimalism, modernism, romanticism, spectralism, Slavic folk and liturgical musics, electronic music, and popular music production techniques. The latter portion of the essay provides a theoretical analysis of the two pieces in terms of poetic genesis, form, motivic material, harmonic structure, orchestration, texture, and rhythmic development.
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Thomas, Jason. "An analysis with performance notes of Luigi Dallapiccola's Dialoghi for cello and orchestra (first movement)." 1992. http://catalog.hathitrust.org/api/volumes/oclc/27667012.html.
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Chen, Yu-Hsuan, and 陳佑瑄. "A Study of Variations on a Rococo Theme, for Cello and Orchestra in A Major, Op. 33 by Pyotr Il’yich Tchaikovsky / Yu-Hsuan Chen Cello Recital." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/01805839417196985002.
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碩士<br>東吳大學<br>音樂學系<br>99<br>Pyotr Il’yich Tchaikovsky (1840-1893) was one of the greatest Russian composers of the Romantic era in 19th century. He wrote a lot of famous works, including symphonies, instrumental and chamber music, operas, ballets and songs. One popular work “Variations on a Rococo Theme, for Cello and Orchestra in A Major, Op. 33,” which was created in 1876, is studied in this thesis. Through realizing the background and the motivation behind the work and further analyzing the interrelation between the music theme and the variations, and the organization of the instruments in the work, the author presents a unique interpretation of the work in this thesis.
【Yu-Hsuan Chen Cello Recital Program】
J. B. Bréval: Duetto V F-Dur, Opus 25
P. I. Tchaikovsky: Variations on a Rococo Theme for Cello and Piano, Opus 33
J. S. Bach: Suite No.1 in G Major, BWV 1007
D. Shostakovich: Sonata for Cello and Piano in d minor, Opus 40
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Simidtchieva, Marta Dilianova Georgiev Lubomir. "An annotated bibliography of works for cello and orchestra by Bulgarian composers written between 1925 and 2000." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04082005-225509/.
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Treatise (D.M.A.) Florida State University, 2005.<br>Advisor: Lubomir Georgiev, Florida State University, College of Music. Title and description from dissertation home page (viewed 2005). Document formatted into pages; contains 68 pages. Includes biographical sketch. Includes bibliographical references.
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Luchkow, Andrew Stephen. "Elgar conducting his cello concerto: audio and documentary evidence of style beyond the score." Thesis, 2005. http://hdl.handle.net/2152/2270.
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Chang, Ya-Chuang, and 張雅粧. "The Techniques and Interpretation of Davidov's Concerto No.1 in B Minor, op.5 for Cello and Orchestra." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/83140539477003155078.
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碩士<br>國立臺北教育大學<br>音樂教育學系碩士班<br>94<br>Karl Davidov was the founder of the Russian School of cello playing. In cello Concerto No.1 in b minor, he used a variety of skills and tones in each movement. Its unique and rich materials have significance meanings for the development of cello-playing techniques. Therefore, the author discusses the valuable contents from the historical, skillful and musical aspects so that the cellists could present its essence.
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"A New Piano Reduction of the Antonin Dvořák Concerto for Cello and Orchestra in B minor Op.104." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57327.
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abstract: The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvořák’s Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the original orchestration, such as inaccurate indications for dynamics, rhythms, and notes. In rehearsal and performance, the pianist is challenged to adapt and transform one of the existing reductions into a playable and productive piano reduction, one which creates Dvořák’s full orchestral sonorities while retaining clarity of voicing. The resulting sound can be infinite in variety, as individual decisions and reductions may differ greatly. This paper will explore the following: how to reduce this orchestral score and solve the technical problem involved in orchestral writing for piano while effectively producing the sound of the orchestra in the piano reduction. There will be a literature review on important published reductions and a brief history of the work and composer. While it is not possible to discuss in detail each passage that has been revised or altered, this paper will focus on and analyze representative and substantial passages, including the perspective of two different reductions: Bärenreiter (2011) and Bärenreiter Praha (2004). It will provide a detailed demonstration of each example and will make suggestions for changes which will concentrate on capturing the essence of the orchestral score at the piano. Chapter one introduces and presents current editions. Chapters two, three and four will discuss each movement of the concerto with detailed explanations about changes in certain passages and sections. The appendix will feature a new revised reduction of Dvořák’s Cello concerto in B minor.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2020
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LIN, I.-WEN, and 林怡彣. "The Study of Jewish Spiritual Symbol in Ernest Bloch’s “Jewish Cycle”: Taking Schelomo, Rhapsodie Hébraïque for Cello Solo and Large Orchestra for Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/69vx3j.
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博士<br>輔仁大學<br>音樂學系<br>107<br>The "Jewish Circle" of Ernest Bloch (1880-1959) is a collection of seven works, including vocals, chamber music and orchestral works. Because of his awakening of Jewish spiritual and the experience of faith. He entered the four-year Jewish series and placed some trait of the Jewish symbol and elements into the music from 1912 to 1916. These elements include intervals, melody, harmony materials, scale materials, rhythm materials, Shofar like sounds, decorative improvisations, etc. Bloch also trying to add the other twentieth century creative trend in his music after 1916, but still did not forget him as a Jewish. He also application of Jewish material in his middle and late works, but not the "Jewish Cycle" coherent and typical.
Bloch's use of Jewish-related material is not to place the material directly into the work, but to have the material that has been internalized, to be changed in the image of his mind, and to express its meaning symbolically. Of the material, most of them are Bloch childhood singing from his father or get-together in the synagogue. So the "Jewish Cycle" in the melody, rhythm, harmony performance have similar common characteristics. And the last work of the "Jewish Circle" Schelomo, Rhapsodie Hébraïque for Cello Solo and Large Orchestra is Bloch in the study of the Old Testament " Ecclesiastes ". Because of being inspired and then brewing want to try to figure out the music and then the output of the work which for the characters, the situation, the role of the simulation. Bloch through the interval, scale, harmony, rhythm and other creative techniques to show but also the implementation of his Jewish symbol.
Overview of "Jewish Cycle", "Seven" is a symbol of the work done in The Holy Bible and means perfect. Through the Schelomo as "Jewish Cycle" the final expression, showing his experience between the works and the Bible. It’s meaning the combination of God and the people, but also show the composer in a specific period of creation, put the work of the Jewish spirit of the results. Schelomo is the most well-known works of Bloch and also the most complete idea of Jewish symbol and elements in his personal career.
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"Three compositions." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5895456.
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by Lee Chui Ling.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.<br>Preface --- p.1<br>Chapter I. --- Twinkling --- p.3<br>Chapter i) --- Analysis-----Introduction --- p.4<br>Chapter ----- --- Formal structure<br>Chapter ----- --- Musical elements<br>Chapter ii) --- Score (with performance notes) --- p.8<br>Chapter II. --- Emancipation --- p.14<br>Chapter i) --- Analysis 226}0ؤ Introduction --- p.15<br>Chapter ----- --- First movement ~ Formal structure<br>Chapter ~ --- Orchestration<br>Chapter ----- --- Second movement ~Formal structure<br>Chapter ~ --- Harmony<br>Chapter ----- --- Third movement ~ Formal structure<br>Chapter ~ --- Musical elemets<br>Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25<br>Chapter III. --- Once Upon a Time --- p.105<br>Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106<br>Chapter ----- --- Formal structure<br>Chapter ----- --- Scale<br>Chapter ----- --- Quotation<br>Chapter ii) --- Score (with performance notes) --- p.111
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"A portfolio of music compositions." 2009. http://library.cuhk.edu.hk/record=b5896608.
Full textAbstract:
《紙・驚》與《鼓・箏》 : 褐紫紅色 : 自《彩露》 : 為京腔女中音、中國大鼓和古箏而寫的雙樂章作品 = "Paper. Jolt" and "Gu. Zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-Zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu Zheng, and Percussion (suspended cymbal and vibraphone) = 青瓷色: 自《彩露》: 為降B單簧管, 古箏與敲擊(弔鈸及鋼片琴)而寫 -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet.<br>"Zhi, jing" yu "Gu, zheng" : he zi hong se : zi "Cai lu" : wei jing qiang nü zhong yin, Zhongguo da gu he gu zheng er xie de shuang yue zhang zuo pin = "Paper, Jolt" and "Gu, zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu zheng, and Percussion (suspended cymbal and vibraphone) = Qing ci se : zi "Cai lu": wei xiang B dan huang guan, gu zheng yu qiao ji (diao ba ji gang pian qin) er xie -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet.<br>Lee, Kar Tai.<br>Durations: 8 min.; 4 min.; 4 min.; 10 min.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2009.<br>Abstracts in English and Chinese.<br>Cover Page --- p.i<br>Abstract --- p.ii<br>Acknowledgements --- p.iv<br>Table of Contents --- p.iv<br>"""Paper. Jolt “ and “ Gu . Zheng""《´紙Ø驚》與《´鼓Ø箏》" --- p.1<br>Carnival《嘉年華》 --- p.18<br>Celdaon《青瓷》 --- p.35<br>"Prelude, Passacaglia and Fugue《前奏、巴沙加牙和賦格曲》" --- p.48