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Dissertations / Theses on the topic 'Symphonies (Cello with orchestra)'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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 system

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3

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 st

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4

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 wi

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5

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

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6

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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7

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 person

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8

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

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9

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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10

Pidcock, Christopher. "An exploration of the compositional idiom of E. J. Moeran with specific focus on his cello concerto." Master's thesis, Sydney Conservatorium of Music, 2010. http://hdl.handle.net/2123/8800.

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11

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.' Al

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12

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

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13

"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 cont

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14

"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 -- Vo

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15

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. Elec

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16

Gutierrez, Alejandro. "Doctoral thesis recital (conducting)." 2011. http://hdl.handle.net/2152/16229.

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17

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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18

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 speci

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19

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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20

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

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21

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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22

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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23

"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 origin

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24

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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25

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

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26

"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 --

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27

"A portfolio of music compositions." 2009. http://library.cuhk.edu.hk/record=b5896608.

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《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 "Ca

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