Academic literature on the topic 'Symphonies – Scores'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Symphonies – Scores.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Symphonies – Scores"
1
Conway, Paul. "Glasgow: Sally Beamish (a round-up of recent premières and CDs)." Tempo 57, no. 223 (2003): 86–87. http://dx.doi.org/10.1017/s0040298203260083.
Full textAbstract:
Sally Beamish has developed a fresh and individual voice by progressively extending her musical language whilst staying true to her own values. The range of her compositions over the last decade has encompassed two symphonies, a series of concertos for an impressive array of solo instruments, chamber music, an oratorio and an opera. The starting-point for many of these scores for widely differing forces is strongly personal, based on a relationship or friendship, a feeling or an event. Such intensely private inspiration can lend even the most extravagantly orchestrated piece a chamber-like intimacy.
2
Klepova, Anna V., and Leyun Xian. "Orchestral Texture in Wang Xilin’s Symphonic Works." Contemporary Musicology 8, no. 2 (2024): 104–28. http://dx.doi.org/10.56620/2587-9731-2024-2-104-128.
Full textAbstract:
Wang Xilin (born 1936) is a Chinese composer currently living in Germany. In his home country, he is known as a musician of the Western trend. His works are occasionally performed in China and are widely known abroad. He has written about one hundred works in various genres, among which orchestral music plays a key role. In his symphonies and symphonic suites, Wang Xilin reinterprets in a new manner the diverse traditions of the Russian and Western European classics. On the other hand, these works vividly express the national Chinese color, manifested in the figurative and emotional sphere, melodicism and textural techniques. The composer has turned towards the orchestral genres during the course of his entire life. They have become a peculiar brand of chronicles of his style and reflect the periodization of his musical output, in which it is possible to highlight three styles. Each of them has its own priorities in his choice of textural means. Thus, his early period (1961–1977) is marked by the study of the Russian and Soviet schools of composition at the Shanghai Conservatory and of Chinese folklore during his exile in the province of Shanxi. The list of textural techniques in the orchestral works of this period — the suite Poems of Yunnan and Symphony No 1 — is not marked by any originality: the composer uses doublings, imitations and canonic expositions most frequently. Wang Xilin bears a striking resemblance to Dmitri Shostakovich in his construction of monodic lines. In his second period (1977–1990) Wang Xilin expanded his arsenal of textural means, in particular creating original “figuration canons” based on pentatonic chants based on intervals of seconds and fourths. These were first used in the suite The Impressions of Mount Taihang and were subsequently widely used by him in his symphonies and suites of his later period. Despite the ban on Western music during the Cultural Revolution, Wang Xilin studied the scores of Charles Ives and Krzysztof Penderecki. This influenced the third period of his work (starting from 1990), marked by a general chromatization of the harmonies and thematicism and the creation of different types of sonorous textures in his music. Overall, the textural basis of Wan Xilin’s works examined here is polyphonic many-voiced texture, but it also includes some homophonic-harmonic sections. Among them there are pastoral fragments with static textures and dance sections with tutti-pizzicato in the strings.
3
Векслер, Юлия Сергеевна. "Scores of Gustav Mahler in the Archival Heritage of Alban Berg." Научный вестник Московской консерватории, no. 2(45) (June 23, 2021): 90–123. http://dx.doi.org/10.26176/mosconsv.2021.45.2.005.
Full textAbstract:
В статье рассматриваются материалы архивного наследия Берга, связанные с творчеством Малера: принадлежащие Бергу печатные партитуры сочинений Малера, нотные рукописи Малера, подаренные Бергу вдовой композитора Альмой Малер, аналитические и текстологические комментарии Берга к сочинениям Малера, а также сделанные Бергом копии и переложения. Берг имел дело с малеровскими партитурами на протяжении всей своей жизни - начиная с юных лет, когда он еще не приступил к систематическим занятиям композицией, и заканчивая временем зрелости, когда он выступал в качестве эксперта малеровского творчества. В его собственности находились все изданные в то время партитуры сочинений Малера, наброски отдельных тем Третьей и Восьмой симфоний, а также ценнейшая черновая партитура трех первых частей Девятой. Рассматриваемые в статье источники позволяют оценить вклад Берга в историю завершения Десятой симфонии Малера. Он участвовал в подготовке первого факсимильного издания Десятой, атрибутировал неизвестные рукописи Малера, выявил ошибки и разночтения в копии Adagio, сделанной Эрнстом Кшенеком, наконец, составил клавир фрагмента Adagio с целью прояснения логики композиционного процесса. The article examines the materials of Alban Berg’s archival heritage related to the work of Gustav Mahler: Berg’s printed scores of Mahler’s works, Mahler’s music manuscripts presented to Berg by the composer’s widow Alma Mahler, Berg’s analytical and textual comments on Mahler’s works, as well as copies and transcriptions made by him. Berg dealt with Mahler’s scores throughout his life, from his early years, when he had not yet begun systematic studies in composition, to the time of maturity, when he acted as an expert in Mahler’s work. In his possession were all the scores of Mahler’s works published at that time, sketches of single themes of the Third and Eighth symphonies, as well as the most valuable draft score of the first three movements of the Ninth. The sources considered in the article allow us to assess Berg’s contribution to the history of the completion of Mahler’s Tenth Symphony. He participated in the preparation of the first facsimile edition of the Tenth, attributed unknown Mahler manuscripts, identified errors and discrepancies in the copy of Adagio made by Ernst Krenek, and finally composed the clavier of the Adagio fragment in order to clarify the logic of the compositional process.
4
Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
Full textAbstract:
Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
5
Hawkshaw, Paul. "A Bequest and a Legacy: Editing Anton Bruckner’s Music in ‘Later Times’." Nineteenth-Century Music Review 15, no. 3 (2018): 405–19. http://dx.doi.org/10.1017/s1479409818000307.
Full textAbstract:
The present study has been prepared on the occasion of the publication of theNew Anton Bruckner Collected Works Edition’s first volume, Thomas Röder’s score of the Linz version of the First Symphony. The article re-evaluates a fundamental precept of the oldGesamtausgabeof Robert Haas and Leopold Nowak – the supremacy of the readings in Bruckner’s autograph manuscripts over those in his first prints. It begins with a brief history of the “Bruckner-Streit” of the 1930s and 40s and a summary of more recent challenges to the Haas-Nowak policy. An overview of the composer’s relationship with the brothers Franz and Josef Schalk, who were responsible for the production of many of his early editions, demonstrates that they worked closely with him at first, but began to make alterations without consulting him towards the end of the 1880s. Distinguishing Bruckner from his editors in the Third, Fourth and Eighth Symphonies is difficult, if not impossible. From an editorial perspective, it is pointless because, in these scores, the composer accepted their suggestions and made them his own. Later publications are a different matter. The discussion leads inevitably to a re-examination of a clause in Bruckner’s will which exercised a controlling influence over the oldGesamtausgabeand remains a seminal factor in any editorial considerations regarding Bruckner. The article demonstrates that the composer never intended his will to have a bearing on post-mortem editorial issues or to dictate the hierarchy of versions of his pieces.
6
Serov, Iurii Eduardovich. "B. Tishchenko's Music for S. Shuster's Documentaries (on the issue of the radical renewal of Russian Symphonism in the 1960s)." PHILHARMONICA. International Music Journal, no. 2 (February 2022): 11–21. http://dx.doi.org/10.7256/2453-613x.2022.2.37784.
Full textAbstract:
The subject of the study is the symphonic work of the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko (1939-2010). The article discusses his music for the documentary films directed by S. Shuster "Suzdal" (1964), "Palekh" (1965) and "Northern Studies" (1968). The author of the work dwells in detail on such aspects of the topic as Tishchenko's innovative role in the renewal of Russian symphonism in the second half of the last century, reformatting the very foundations of compositional thinking, enriching the sound palette with the help of modern musical avant-garde. Special attention is paid to the issue of B. Tishchenko's inheritance of the great Russian symphonic tradition. В The main conclusion of the article is the idea that B. Tishchenko's music for documentaries of the 1960s accumulated the freshest ideas of the period of renewal in Russian art. A special contribution of the author to the study of the topic is a detailed study of three little-known scores of the composer in the context of an intensive search for "new music". The novelty of the research lies in the fact that the author examines the composer's compositions through the prism of stylistic and linguistic innovations of the 1960s, proves the close connection of Tishchenko's symphonism with his time, with the contradictory cultural and social processes that befell the generation of composers of the "sixties".
7
Notley, Margaret. "Bruckner Problems, in Perpetuity." 19th-Century Music 30, no. 1 (2006): 081–93. http://dx.doi.org/10.1525/ncm.2006.30.1.081.
Full textAbstract:
In the past, "the" Bruckner problem had to do with producing editions that reflected his intentions, insofar as these could be determined from extant autograph materials. Since then, musicologists have singled out other Bruckner problems. Thus many scholars see the need to create a more believable image of the composer than that of the pious na•f who appears in much of the traditional literature. As the scope of Bruckner scholarship widened in the past three decades, the opposition between Catholic liturgical music and Wagner's operas, both crucial in Bruckner's development as a composer, inspired semantic interpretations of his symphonies that have been subjected to increasingly close and critical scrutiny. In sum, much recent research focuses on creating a firmer factual basis for understanding his life and works. Yet musicologists have also recognized the significance of the cliches of Bruckner reception, which can be attributed in part to the volkisch worldview shared by many of his earliest supporters. Contemporary Viennese politics is an important topic because of questions not only of reception but also intent. Bruckner greatly enhanced the demagogic and cultic appeal of the Beethovenian symphony; scholars have accordingly focused on how he altered the type, as well as on how it was perceived. Recent treatments of the Eighth Symphony suggest the analytical potential of the metrical numbers Bruckner wrote in his scores while also showing that "the" Bruckner problem persists. Many distinguished conductors continue to choose the "wrong" version of the symphony (prepared by Robert Haas in 1939) over the first and second versions of the symphony as edited by Leopold Nowak after World War II. Rigorous and at the same time imaginative approaches are needed for the problems Bruckner scholarship poses.
8
Crist, Elizabeth Bergman. "Aaron Copland's Third Symphony from Sketch to Score." Journal of Musicology 18, no. 3 (2001): 377–405. http://dx.doi.org/10.1525/jm.2001.18.3.377.
Full textAbstract:
Aaron Copland's Third Symphony, commissioned by Serge Koussevitzky and premiered by the Boston Symphony Orchestra in 1946, stands as the single true achievement of the composer's symphonic career. As befits such a weighty composition invested with personal and professional artistic aspirations, the genesis and evolution of the Third Symphony from sketch to score was unusually complex. The present study relies heavily on archival materials in the Copland Collection at the Library of Congress——including sketches and scores, historical recordings, and personal correspondence——to document the work's compositional history in detail. In sum, the textual history of the symphony involves nearly 20 manuscripts spanning as many years. Copland began composing the symphony earlier than previously thought and found thematic material for the Third in numerous other works dating back to 1940, four years before the actual commission. Variant autograph full scores embody contributions by Serge Koussevitzky and Leonard Bernstein made after the symphony's premiere in 1946 and publication in 1947; Copland's own copy of the 1966 revised edition contains additional changes and corrections. Such insights place the symphony in a new historical and musical context relating to his work during the Great Depression and the Second World War and reveal an unexpected collaborative dimension to Copland's compositional process.
9
Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.
Full textAbstract:
Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientific and technological progress resulted into transformation of time and space perception in European cultural consciousness, with the music being not conceived as a form of art beyond their limits. (Herasimova-Persydska, 2012a). The means of space-temporal relations objectification is a system of interrelated parameters of a musical composition, covering form, theme, meter and rhythm, composition, music dramaturgy, orchestration with one of the leading functions. The twentieth century composers, who embodied new ideas about time and space while organizing musical composition, are C. Debussy, the New Vienna School composers and Ihor F. Stravinsky. Theoretical Background. Recent research and publications analysis. The problem of time and space is one of the key problems of Ihor F. Stravinsky’s work. The research of space at the micro level of the composer’s musical language is carried out in B. I. Rysin article. (Rysin, 2012: 164–165). I. Vershynina (1967) does not formulate the problem of time directly, but indirectly considers it, using the concept of “dynamic content”, which is inherent in the intonational structure of the composer’s music language. M. Druskin (1982) devotes separate sections to the problem of time and space: “Movement” (Druskin, 1982: 127–137) and “Space” (Druskin, 1982: 137–154). Summarizing, the researcher (1982) states: “… Stravinsky contrasted throughcomposed processual development to the ratio of planes and volumes, a single convergence place to the variety of relatively independent “horizon levels”, a single-center composition to a multi-center one” (149). Accurate observations of the monograph author lead to the aesthetic, artistic and general stylistic level, emerging, if at all, into music texts composition. Taking these ideas as a basis, we consider it appropriate to transfer them onto orchestral thinking and composer’s orchestral style. Let us add our own considerations about the nature of space. The Objective of the article is to consider the features of space-temporal organization of Ihor F. Stravinsky works at the level of orchestration. The objects of research are Symphony in C (1938–1940) and Symphony in Three Movements (1942–1945). The urgency of the work lies in poor research of the orchestral thinking and the composer’s orchestra style regarding the principles of the music composition space-temporal organization. Methods. To achieve the goal, the following research methods are applied: 1) historical one, which allows to comprehend the selected material in the perspective of the evolution of Ihor F. Stravinsky’s orchestral thinking; 2) theoretical one, which reveals the features of the composer’s ensemble style; 3) cultural one, which allows us to formulate an idea on the connection between culture as a type of thinking and composer’s artistic thinking, which is realized in the peculiarities of the space and temporal organization of the music composition. Results and Discussion. In his early ballets, Ihor F. Stravinsky developed various types of orchestral composition based on a key structural idea – the multifigure, which is realized horizontally and vertically within the orchestral composition, at the micro and macro syntactic levels of the music composition. We shall consider the figure in the orchestral composition as a characteristic, formula, distinguished through sound colour and register, which: 1) is repeated accurately (ostinato) or alternative-variationally, and in this case it may not have intonational characteristic, distinctness, bright expressiveness; 2) sounds unique, and may have an individual intonation and rhythmic pattern. The figures can belong to different layers of the orchestral composition, respectively, to act as carriers of different orchestral functions (melody, melodious figuration, pedal, etc.). Multifigure at the macro-syntactic level of a music composition is realized through frequent change of thematic episodes, accompanied by orchestral composition and sound colour altering. This gives rise to eventfulness, density, contrast of symphonious time. Multifigure at the micro-syntactic level is manifested through horizontal combination of figures, conditioned by intonational structure of the theme. A figure may coincide with the intonation if it represents a melody function. Vertically multifigure is manifested in the combination of figures in different layers of composition. They interact on the principle of rhythmic (and melodic) complementarity. This forms a particularly sophisticated space where all the elements interact, having their own unique sound colour, rhythmic, compositional patterns. The multifigure concept is of a double origin. The first source is culture, as a type of thinking. Ihor F. Stravinsky was one of the first composers who, at the level of artistic thinking, became aware of the complex intricacy of the universe and transformed it into orchestral works sound materials. The second source is the aesthetics of the stage (theatrical) space and the stage movements (gesture). Thus, we believe that in Ihor F. Stravinsky’s ballets scores of Russian period, a special orchestra style was developed, with the technique to be used in the symphonies. Conclusions. The analysis of Ihor F. Stravinsky’s Russian ballets and two symphonies scores showed that the orchestral style, invented by the composer in his early works, was based on the multifigure principle, embodying the idea of time and space in the world building, which was radically changed at the beginning of the century. The author formed an idea that the connection between orchestration, composer’s thinking and culture, as a certain type of thinking, needs further elaboration taking other Ihor F. Stravinsky’s works, as well as of the composers who made a breakthrough in orchestral style in the first half of the twentieth century.
10
Banciu, Ecaterina. "Messages beyond the Score, or encoded Meanings in Mahler’s Symphonies." Studia Universitatis Babeş-Bolyai Musica 63, no. 1 (2018): 77–88. http://dx.doi.org/10.24193/subbmusica.2018.1.05.
Full textDissertations / Theses on the topic "Symphonies – Scores"
1
Morell, Justin 1973. "Symphonies -- Scores and parts." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11058.
Full textAbstract:
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
2
Oh, Seykyu. "Symphony no. 1." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332767/.
Full textAbstract:
The Symphony has been composed using traditional Korean idioms and Western style four-movement arrangement. The Symphony requires Western instrumental forces. The discussions about Far Eastern music raised by Western and Eastern scholars, and about some Korean rhythmic aspects, articulations, and ornamentations help explain how the Symphony is constructed. The pitch materials, melodic styles, rhythm, form, and structural materials that are used in the composition are presented. Heterophony, embellishment, articulation, and mutation are also discussed.
3
Park, Ki-Seob. "Symphony in Three Movements." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277890/.
Full textAbstract:
Symphony in Three movements is an orchestra work scored for two flutes, two oboes, two clarinets in Bb, two bassoons, two horns in F, three trumpets in Bb, three trombones, one tuba, percussion and strings. The percussion consists of timpani, vibraphone, temple block, tom-tom, suspended cymble, bass drum, and gong. The piece is not based on any non-musical image. The three movements of this work, I.(variation-like) II.(ternary) III.(fantasia-like), are based on the combination of the solemn ceremonial atmosphere of Korean music and early twentieth-century Western music.
4
Ring, Gordon L. (Gordon Lee). "Symphony No. 1 "Concertante"." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331555/.
Full textAbstract:
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.
5
Wilson, Eric C. "Manifest destiny : a symphony for wind ensemble." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1281300.
Full text
6
Choi, Jongmoon. "Symphony No. 1." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2815/.
Full textAbstract:
Symphony No. 1 is an orchestral composition for twenty-four instrumental groups without percussion instruments. It was composed with Algorithmic Composition System software, which gives driving forces for composition to the composer through the diverse compositional methods largely based on physical phenomena. The symphony consists of three movements. It lasts about sixteen minutes and twenty-six seconds--five minutes and twenty-two seconds for the first movement, five minutes and forty seconds for the second movement, five minutes and twenty-four seconds for the third movement. Most musical components in the first movement of the symphony are considered embryos, which gradually begin developing through the second and third movements.
7
Lemieux, Glenn C. (Glenn Claude). "Sacred Symphony." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330973/.
Full textAbstract:
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.
8
Neikirk, Anne L. "SYMPHONIC PRAYERS [SCORE]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252873.
Full textAbstract:
Music Composition<br>D.M.A.<br>Symphonic Prayers is a work for orchestra and soprano soloist in four movements. The work uses four poems from Rainer Maria Rilke's collection Das Stundenbuch (The Book of Hours), written between 1895 and 1903. Rilke was a Bohemian poet, mystic, traveler, and lover of art and nature. He narrates The Book of Hours through a fictional Russian monk who converses with God and reflects upon the nature of the world through the poetry. Rilke's poems delicately weave together the joys and struggles of a faith journey and of finding one's place in the world and in eternity. Equally striking is the beauty with which he utilizes the German language. There is an irresistible rhythm and nuance to his words. The four poems I chose each reflect a different category of prayer derived from the Christian faith tradition. A common prayer model utilized in the Protestant church is abbreviated by the acronym "ACTS," which stands for adoration, confession, thanksgiving and supplication. The ACTS prayers guide the worshipper through four methods of praying: expressing adoration for God, confessing sins and shortcomings, showing gratitude and thanksgiving, and asking for help for oneself and others. I modeled each movement of Symphonic Prayers after these categories and chose poems from Das Stundenbuch that mirrored the sentiments of each prayer. Adoration is a proclamation of faith, a statement of unrelenting praise and prayer. The narrator unapologetically declares that even if it begets arrogance, nothing will diminish his drive to reach out to God. Even through this bold statement, the poem maintains reverence and a sense of wonder toward its subject. Confession is a statement of the brokenness of the world, recounting how murder has ripped through God's call for us to love life, and how our attempts to atone for this brokenness fall short. Thanksgiving is a boisterous statement of praise to God. The speaker analogizes her praise to trumpet calls, her words to sweet wine, and her music to a northern spring day, each preparing the way for God. Supplication returns to the reverence of the first movement. The narrator contemplates her life that is ever circling around God. The accompanying monograph explains the ACTS prayers in the context of the Reformed Church of America, both historically and currently. It presents an analysis of the four Rilke poems selected to represent the ACTS prayers, including their narrative meaning, their relationship to Das Stundenbuch, their translations, and a close examination of their poetic features, such as prosody, meter, and rhyme. The discussion of the poems also required some background on Rilke's faith journey and artistic maturation. The monograph also addresses musical text setting in a broader sense by recounting some historical philosophies of textual and musical relationships and explaining where the composer's ideologies fall within the larger framework. Finally, it presents a musical analysis of Symphonic Prayers in relation to the text setting of the four poems, including an explanation of its harmonic structure, which is derived from Olivier Messiaen's modes of limited transposition. The compositional goal of Symphonic Prayers was to create a work that would honor the ACTS prayers through the elegant words of a mystic poet. The music reinforces the messages behind Rilke's honest conversations with God, and in doing so offers a new lens through which to experience the arc of the ACTS prayers.<br>Temple University--Theses
9
Walczyk, Kevin 1964. "Capriccio: A Composition for Symphonic Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935623/.
Full textAbstract:
A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.
10
Leung, Chi Cheung. "Symphonic Poem "New Life" for Orchestra and Yang-Chin." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500859/.
Full textAbstract:
Symphonic Poem New Life is a composition in one movement for orchestra and yang-chin. The work is divided into six continuous sections. It is written in resultant form which is a cumulative process by which all major musical elements return at the end of the work. The tritone is the prominent interval used throughout the piece. Some graphic notation is also employed. The work has a performance time of approximately 13-15 minutes. The yang-chin is a Chinese string instrument similar to the Hungarian cymbalon, which is played with a pair of small beaters. These instruments have similar ranges, and either instrument can be used in this work.
Books on the topic "Symphonies – Scores"
1
Bach, Johann Christian. Symphonies II: Twelve symphonic works from eighteenth-century printed sources. Garland, 1985.
Find full text
7
Schumann, Robert. Symphony no. 3, E♭ major, op. 97: "Rhenish" = Es-Dur : "Rheinische" = mi♭ majeur. Eulenburg, 1986.
Find full text
10
Elgar, Edward. Symphony no. 1 op. 55 A♭ major =: As-Dur = La♭ majeur. Ernst Eulenburg, Ltd., 1985.
Find full textBook chapters on the topic "Symphonies – Scores"
1
Nielsen, Cynthia R. "Fanon on Decolonizing Colonized Subjectivities and the Quest for an Historically Attuned Symphonic Humanism." In Foucault, Douglass, Fanon, and Scotus in Dialogue. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137034113_4.
Full text
2
"35. Herrmann Says Hollywood Tone Deaf as to Film Scores (1964)." In Celluloid Symphonies. University of California Press, 2019. http://dx.doi.org/10.1525/9780520947436-041.
Full text
3
Hutchings, Arthur. "Introduction. Mozart and the concerto." In A Companion to Mozart’s Piano Concertos. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198167082.003.0001.
Full textAbstract:
Abstract Having discovered the spellings ‘Mozerth’ and ‘Mozer’ in parish registers around Salzburg, anti-Semitic authorities order the destruction of all Mozart’s work except a few representative scores to be deposited in the Museum of Degenerate Art. What shall we spare? Of course the operas, and then-the symphonies or the concertos ? If Worcester or St. Faul’s must be destroyed, for which shall we plead? We may like gothic and dislike Wren, whose dome is a funnel, whose ornament domestic; St. Paul’s may be an amazing hybrid, bu.t we shall spare the only St. Paul’s and we shall retain the Mozart concertos. They, too, are amazing hybrids and their artist something of an engineer.
4
"Guide to Virtuosity: Foreword to Students (1923)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0018.
Full textAbstract:
Abstract Students should always aim at keeping their general musical knowledge well in advance of their mere pianism. To develop the former they should daily devote some time to transposing (playing pieces they know in all keys—the best way of attaining an actual working knowledge of harmony), to sight-reading at the piano (not only compositions for the piano but also piano scores of the greatest musical works, such as the Bach Passions, Wagner music dramas, Delius nature-music, Beethoven, Brahms and Tchaikovsky symphonies, Debussy and Richard Strauss tone poems, Stravinsky ballets, etc.) and to ensemble playing with others students (duets at one or two pianos, and ensemble work with other instruments and with voices).
5
Bowen, Meirio. "The Score." In Tippett on Music. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198165415.003.0022.
Full textAbstract:
Abstract If you look at a printed copy of one of my large-scale works, such as one of the symphonies, you are likely to regard it as a finished entity. It has many pages; it has many thousands of notes. Now those notes have been invented by me as a series of instructions to enable people with the requisite skills to perform the work. I have, in principle, nothing to do with the performance: my concern is simply with invention. The instructions must of course be accurate, precise to the last possible detail—though on reflection that last detail is not totally realizable. There are limits to which music can be considered an exact science; there are many pitfalls in the intermediary processes between invention and realization. Far more so than the context and manner in which a painter’s canvas is exhibited—size of room, companion pictures (if any), methods of lighting, and so forth—music enters a somewhat indefinite region when it is performed. Many factors will remain outside the composer’s control: the acoustics of the hall, the extent of the performers’ accomplishment and commitment to the highest ideals, and so on. In theory, the matter could be solved partially by a series of legal injunctions, supetvised by the composer and publisher while still alive, and by appointed trustees during a designated period after his or her death. Some have taken that course. But what an atmosphere it creates! The guide-lines I am offering here are meant not to restrict but to stimulate: to give some background information that facilitates an informed approach to the scores and helps illuminate certain matters of style.
6
Abraham, Gerald. "The Symphonic Poem and Kindred Forms." In Romanticism (1830–1890). Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193163096.003.0007.
Full textAbstract:
Abstract IT has been remarked in an earlier chapter that perhaps the most characteristic form of Romantic orchestral music was the concert overture, and at the middle of the century, as music aspired still more ardently towards the qualities of the other arts, the programmatic concert overture began to develop new characteristics and acquired a new generic title: ‘symphonic poem’. (It was first employed by Liszt, on the occasion of a performance of his Tasso Overture at the Weimar Court on 19 April 1854.) Under its cover composers felt freer to indulge in structural licences like those taken by Mendelssohn in Meeresstille und gliickliche Fahrt and Berlioz in Le Carnaval romain, and in the devices of tone symbolism and tone painting that were still regarded with suspicion, if not hostility, by many musicians at the middle of the century. It is impossible to draw a defining line between the early symphonic poems and contemporary concert overtures; the terms were for some time almost interchangeable. It is true the scores of symphonic poems were generally prefaced by literary programmes like those to Berlioz’s Symphonie fantastique and Spohr’s Die Weihe der Tone, but so too, occasionally, were the scores of overtures.
7
"39. Keeping Score on Schifrin: Lalo Schifrin and the Art of Film Music (1969)." In Celluloid Symphonies. University of California Press, 2019. http://dx.doi.org/10.1525/9780520947436-045.
Full text
8
Kennedy, Michael. "Rückert Symphonies." In Mahler. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164807.003.0012.
Full textAbstract:
Abstract When discussing the three central instrumental symphonies, Nos. 5, 6 and 7, several writers seem to have been so dazzled by their complexity and ingenuity that it is difficult, when listening to the music, to equate it with the verbal contortions and metaphors employed. There is perhaps a parallel with the late quartets of Beethoven, which for years were regarded as on such a high plane of musical philosophy that hardly a coherent paragraph could be written about them. Bernard Shaw was not merely an iconoclast but a heretic when he wrote in 1894 of the late quartets as ‘beautiful, simple, straightforward, unpretentious, perfectly intelligible’. Mahler’s three middle symphonies are not simple and straightforward, but they are beautiful and intelligible. Few composers have benefited more from the invention of the longplaying record and tape-recording. Only in the second half of the twentieth century has it been possible fully to absorb these works, not through the score and the memories of isolated performances but by constant study of their sound in a series of superb interpretations. Far from breeding contempt, familiarity increases admiration for their mastery. They are complex, but Mahler’s grand designs are logical and purposive, becoming clearer and simpler with each repetition.
9
Rupprecht, Philip. "Symphonies Serious or for Fun." In The Oxford Handbook of Music and the Middlebrow. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197523933.013.25.
Full textAbstract:
Abstract Malcolm Arnold’s concert music of the 1940s and 1950s pleased audiences but rankled press critics. The archived verdicts by the Score Reading Panel at the BBC Music Department document mixed opinions of Arnold’s music. Arnold’s characteristic tone—often called humorous and frivolous—confounded critics seeking serious or complex statements. The symphony as a genre takes a relatively high position within a midcentury British field of cultural production. Beyond Bourdieu’s hierarchical model, British cultural theorists from Eliot and Leavis to Hoggart, Williams, and Hall surveyed an interplay of elite and “ordinary” tastes, both susceptible to bureaucratic planning. Adopting a policy of cultural “uplift,” the BBC’s pyramid of radio broadcasting channels—Light, Home, and Third—constructed clearly separate categories of listener. Arnold’s stylistically eclectic Symphony No. 1 was initially rejected for BBC broadcast as a score too vulgar for highbrow or even middlebrow taste.
10
Ferraguto, Mark. "Music for a Culture Hero." In Beethoven 1806. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947187.003.0005.
Full textAbstract:
Beethoven’s Fourth Symphony has often been described as “Haydnesque.” But neither the extent of Haydn’s influence nor Beethoven’s motivations for emulating him has been carefully explored. In early 1806, publisher Breitkopf & Härtel began issuing the “London” Symphonies in full score, allowing many connoisseurs to study the works for the first time. Beethoven’s Fourth Symphony, composed that summer, bears numerous compositional affinities to these works (especially Nos. 99, 102, and 103). By turning to the “London” Symphonies for inspiration, Beethoven memorialized his former mentor while capitalizing on the Haydn mania that was sweeping theaters, concert halls, and the pages of journals like the Leipzig Allgemeine musikalische Zeitung.
Conference papers on the topic "Symphonies – Scores"
1
Naito, Maho. "Die Parallelität der Entstehungsprozesse der ersten beiden Symphonien Gustav Mahlers: Instrumentation, Revision und Dirigierpraxis." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.65.
Full textAbstract:
As is well known, Gustav Mahler made many revisions to his First and Second Symphony after the completion of the autographs on the occasion of performances. This study focuses on these two symphonies in order to clarify his revising processes and features of revisions by deep analysis and by analysing and comparing of the autographs, the copies and the published scores with Mahler’s own handwritten annotations. In addition, the circumstances of Hamburg State Opera (Hamburger Stadttheater) also come up for discussion. There, Mahler conducted a lot of operas and orchestral works during the time when he composed and revised the two symphonies. In this article I demonstrate that the revising processes of these symphonies show the similar features of instrumental changes. Furthermore Mahler’s activities as a conductor in Hamburg had a large influence on his composing and revising processes.
2
Carter, Nicholas P. "Conversion of the Haydn symphonies into electronic form using automatic score recognition: a pilot study." In IS&T/SPIE 1994 International Symposium on Electronic Imaging: Science and Technology, edited by Luc M. Vincent and Theo Pavlidis. SPIE, 1994. http://dx.doi.org/10.1117/12.171115.
Full textReports on the topic "Symphonies – Scores"
1
Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
Full textAbstract:
Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.