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Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.
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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.
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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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Price-Brenner, Paul Alan. "Concerto for viola section and orchestra." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5605.
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Concerto for Viola Section and Orchestra is a two-movement work lasting nineteen minutes. Its first movement in entitled Frenetic, and the second, Song and Finale, is made up of a slow and fast section. The concerto is scored for piccolo, two flutes, two oboes, two clarinets in B-flat, bass clarinet, two bassoons, two horns in F, two trumpets in C, tenor trombone, bass trombone, four percussion, a section of seven violists, violins 1, violins 2, violoncellos, and double basses.
Balance can be one of the main problems with writing a work for solo viola and orchestra. While the viola’s timbre makes it an enticing instrument, there is a restriction that keeps it from easily projecting over an orchestra. Composers have devised several methods for solving the problem. For example, Paul Hindemith was careful not to over orchestrate in his concerto entitled Der Schwanendreher. By limiting the number of cellos and basses to four and three respectively, and by omitting violins and other violas altogether, Hindemith thinned out and removed timbres that might obstruct the viola.
In my concerto for a section of violas, I also consider orchestration as a solution to the problems of balance and projection. However, I focus on the soloists in contrast to the orchestra. By composing for seven violas, I utilize the thickness of sound achieved through chorusing. Using any combination of the violas, it becomes easier for the listener to perceive the viola timbre. Furthermore, this use of multiple violas allows for more complex counterpoint in solo passages, something a single instrument is not able to manage on its own. This piece is not a concerto grosso in any sense. The soloists do not perform as a smaller chamber ensemble extending from the larger orchestra. Instead, the soloists are treated as a single entity. They act as one unit, using seven performers to do the work of one soloist.
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Johnson, Crystal. "Abstracts for the mind : a work in three movements for viola and orchestra /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131464908.pdf.
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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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Yang, Fan. "Reconsidering the Nineteenth-Century Potpourri:Johann Nepomuk Hummel’s Op. 94 for Viola and Orchestra." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522417588095517.
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Reiter, Erica Amelia 1968. "Krzysztof Penderecki's Cadenza for Viola Solo as a derivative of the Concerto for Viola and Orchestra: A numerical analysis and a performer's guide." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289622.
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The intent of this study is to explore the musical, structural, and intervallic relationship between Krzysztof Penderecki's two works for viola, the Concerto for Viola and Orchestra and Cadenza for Viola Solo. The Concerto for Viola is a twenty-minute work accompanied by full orchestra; the Cadenza for Viola Solo is an eight-minute solo work. In these viola works, Penderecki has encapsulated the characteristics of the viola: the tone, technical capacity, and character. Both of Penderecki's viola works demand and reinforce the unique qualities of the viola. This document provides a performance guide to help a performer develop more insight and understanding of the viola's individual qualities that are represented in these pieces. The comparison between the Concerto for Viola and Cadenza for Viola Solo is discussed in three sections. First, the two works are divided into logical sections and compared to one another in a parametric structure chart. The musical and structural features discussed in the performance analysis include motivic elements, articulations, rhythmic ideas, dynamics. The highest tier consists of larger concepts, such as structure, phrasing, and sequential patterns. The lower tiers focus on detailed comparisons including dynamics, note patterns, and fingerings. These musical and structural analyses of the Concerto for Viola and Cadenza for Viola Solo are represented in flowcharts. These flowcharts evaluate, along an aerial view, similarities and dissimilarities between sections, the merging of one section with another, and the formal structure of the two works. The second analysis is a process based on applying to each pitch a specific numerical value. Each pitch is assigned a designated number, and the two pieces are compared solely on these numbers. The numbers indicate the intervallic relationships of motives, phrases, and sequences of each work. The numerical comparisons demonstrate consistent correlations between the two works that are not evident through other methods of analysis. Finally, the Cadenza for Viola Solo is analyzed from a performer's perspective. These performance issues focus on certain sections that require more detailed guidance, inclusive of bowing technique, shifting options, vibrato, and dynamic considerations.
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Lopes, José Nilson. "Cantoria, para viola sertaneja e orquestra de cordas: desenvolvimento de processos composicionais referenciados na cantoria de viola." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6594.
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Previous issue date: 2011-01-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work deals with the principles and compositional techniques employed in Cantoria, for ten-string Viola Sertaneja and String Orchestra, composed of three movements, with approximate duration of 14 minutes. The work uses a compositional language developed from stylistic, melodic and rhythmic elements from Cantoria de Viola Nordestina. In the musical discourse of the first two movements, the viola sertaneja and the string orchestra are treated as distinct dramatis personae that interact with each other in several ways simulating certain acoustic effects through orchestration. In the third movement, they interplay according to the principle contained in the Desafio (kind of Cantoria de Viola).<br>Este trabalho se refere aos princípios e técnicas composicionais empregados na peça Cantoria, para Viola Sertaneja de 10 cordas e Orquestra de Cordas, composta de três movimentos, com duração total aproximada de 14min. A obra utiliza uma linguagem composicional desenvolvida a partir de elementos estilísticos, melódicos e rítmicos da Cantoria de Viola Nordestina. No discurso musical dos dois primeiros movimentos, a viola sertaneja e a orquestra de cordas são tratadas como dramatis personae distintas que interagem mutuamente de diversas formas simulando determinados efeitos acústicos através de recursos de orquestração. No terceiro movimento, elas se contrapõem baseadas no princípio da disputa contida no Desafio (modalidade da Cantoria de Viola).
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Betancourt, Cindy Alyce. "William Walton's viola concerto : a methodology of study." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063302.
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This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire.<br>School of Music
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Beall, Stephen J. "A Performance Edition of the Alessandro Rolla Concerto in F for Viola and Orchestra, Op 4 (Bi 549)." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699948/.
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The Concerto in F, Op. 4 (BI 549) by Alessandro Rolla (1757-1841) is a relatively unknown work that can serve as a complement for existing standard Classical repertoire for the viola, thus providing the means for greater stylistic education and technical foundation for viola study from this time period. In order to make the music from this lesser-known composer more readily available for future performers, a performance edition has been created from uncirculated sources using the notation software “Finale,” combining separate parts into a conductor’s full score, which did not exist before. This performance edition will provide greater access to Rolla’s music for viola performance and study. In addition to addressing the challenges to creating a performance edition, this lecture secondarily addresses Rolla’s biographical details relevant to the concerto and his stylistic influences.
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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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Pedro, Renato Cardinali 1981. "Uma orquestra de viola caipira do município de São Carlos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284491.
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Previous issue date: 2013<br>Resumo: Este trabalho é resultado da pesquisa realizada sobre a Orquestra Amigos Violeiros de São Carlos, uma formação musical de caráter social sem fins lucrativos, que se dedica à prática da viola caipira. O enfoque principal foi investigar como o envolvimento com a Orquestra ativa aspectos de identificação destes sujeitos com a cultura caipira e a música sertaneja. Para tanto, utilizamos os métodos etnográficos e etnomusicológico que busca compreender os sentidos das ações dos sujeitos envolvidos nessa formação musical, suas representações e prática musical. Os procedimentos realizados para a coleta dos dados foram observações participantes dos ensaios e apresentações do grupo, registradas em caderno de campo, entrevistas e gravações de áudio e vídeo. Além disso, abordamos aspectos históricos da viola, da cultura caipira, do segmento musical sertanejo, bem como da formação e desenvolvimento da Orquestra. A partir das análises dos dados, foi identificado como o envolvimento dos integrantes com o grupo e com sua prática musical ativa aspectos de identificação destes sujeitos com o que consideram ser a cultura caipira<br>Abstract: This work is the result of the research conducted on the Orchestra Amigos Violeiros of São Carlos. A non-profit and social musical formation dedicated to the practice of Brazilian ten-string guitar. The main focus was to investigate how the involvement with the Orchestra activates identification aspects of these subjects with the caipira culture and Brazilian country music. Therefore, it was used ethnographic and ethnomusicological methods that seeks to understand the meanings behind the actions of those involved with the musical formation, its representations and musical practice. The procedures carried out for data collection were participant observation of rehearsals and performances of the group, recorded in the field notebook, interviews and audio and video recordings. Besides, it was discussed historical aspects of the viola, the caipira culture, the Brazilian country musical segment as well as the formation and development of the Orchestra. From the data analysis, it was identified how the involvement of the members in the group and their musical practice activates identification aspects of these subjects with what they consider to be the caipira culture<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Kane, Bernard John. "From manuscript to publication : aspects of Lionel Tertis' style of viola playing as reflected in his 1936 edition of Ralph Vaughan Williams' suite for viola and orchestra." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31359.
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The Suite for Viola and Small Orchestra (or Piano) by Ralph Vaughan Williams (1872-1958) was commissioned by and dedicated to the British violist Lionel Tertis (1876-1975). The premier occurred on 12 November 1934; Lionel Tertis was the soloist with the London Philharmonic Orchestra under the baton of Sir Malcolm Sargent. The work was first published by Oxford University Press in 1936 in an edition for viola and piano. In this edition, the viola part contains many inconsistencies with the manuscript, which is held at the British Library (Add. MS 50386). Between the first performance in 1934 and the publication of the Suite in 1936, Tertis made considerable editorial changes to the viola part. These changes involve fingerings, bowings, phrasing, articulation, and dynamics; at times the notational substance is altered as well. 1 It is the aim of this thesis to demonstrate why Lionel Tertis' 1936 version differs from the manuscript. The author will attempt to demonstrate that the differences which do exist between the manuscript and the 1936 edition are the result of Tertis' idiosyncratic style of performance, the most notable aspects being Tertis' emendations concerning his use of articulation and phrasing. In chapter 1, I shall discuss aspects of Lionel Tertis' life that led to his international recognition as one of the greatest violists of all time; I shall also discuss the relationship that he had with Ralph Vaughan Williams, one which led to the composition of the Suite for Viola and Orchestra. In the following two chapters, I shall demonstrate that the differences made between the manuscript and the 1936 edition are reflections of two aspects of Tertis' own style of viola playing. These are--generally speaking--Tertis' use of articulation to create a bigger sound in passages of a louder dynamic and his use of connected, sustained cantabile phrasing in passages of a softer dynamic. I shall also use other examples from his own arrangements of other music in he makes similar changes which reflect this general philosophy. 1 Original discovery by William A. Everett, discussed in "Ralph Vaughan Williams's Suite for Viola and Orchestra," Journal of the American Viola Society 13, no. 2 (1997): 9-19.<br>Arts, Faculty of<br>Music, School of<br>Graduate
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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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Chiang, I.-Chun. "A Historical Technique from a Modern Perspective: The Transcription Scordatura in Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169540.
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Yang, Shang Ju. "Sonic Imagery in the Viola Arrangement of Hwang-Long Pan's Concerto for Violoncello and Chamber Orchestra (1996/97)." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/294020.
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The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (1996/1997), making use of the composer's sketches, interviews and other scholarship, to illustrate how the composer blends Western instrumentation and formal structure with elements of traditional Chinese music and philosophy. The analysis reveals how Pan uses modern European compositional techniques such as symmetrical pitch structure, arch forms, and avant-garde performance practices in the Concerto. The author also discusses performance techniques required of the solo violist and other orchestral instruments in order perform the style of Chinese heterophonic music evoked in the Concerto and to realize the ornaments and special performance effects that Pan borrows from traditional Chinese instruments, such as the lute-like pipa.
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Melendez, Melissa Sybel. "Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra (2003): A Phenomenological and Traditional Analysis of the Concerto with Consideration of its Stylized Venezuelan Folk Rhythms." Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1445%5F1%5Fm.pdf&type=application/pdf.
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Levin, Andrew Reed. "Concerto in E-flat major by Joseph Schubert : a critical edition with commentary." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861376.
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Violists today have much music from which to choose. Works exist for unaccompanied viola, viola and piano, and chamber ensemble including viola. Many of these works, especially those from this century, were written specifically for the viola. In addition, a number of earlier original viola works have been recently rediscovered. There are not, however, any great number of concertos for viola and orchestra.According to David Daniels' Orchestral Music: A Handbook, there are nineteen works in the general repertoire for viola and orchestra. Closer examination of these works reveals that few measure up to the standard of quality found in the concerto literature for other instruments. Violists, therefore, continue to search for new and rewarding music to play.The purpose of this study is to supplement the concerto repertoire for the viola with a recently uncovered work, the Concerto in E -flat Major by Joseph Schubert.The concerto is put in a historical and analytical context. Discussions of eighteenth-century Dresden's musical life and Schubert's life and works provide a context for understanding the Concerto. A history of the instrumental parts chronicles the Concerto's two versions. A carefully prepared musical text (based on manuscript parts from the Sachsische Landesbibliothek Dresden) is presented, with discussion of sources and emendations.<br>School of Music
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Loback, Jamie. "Contour prolongation in Steven Gellman's Concerto for Viola and Orchestra (2004): Tracing the narrative of the ego and alter-ego." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28279.
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This thesis illustrates a narrative paradigm consisting of the ego and alter-ego, manifested within the thematic content of Gellman's Concerto for Viola and Orchestra. I invoke contour theory as my primary analytical tool, which I combine with Schenkerian techniques to highlight the possibilities for contour prolongation at the foreground, middleground, and background levels. I support my analysis based on various types and combinations of accent, harmony, and voice leading. Chapter one contains Gellman's biographical information, while chapter 2 provides the methodology of my analytical approach based on the contour models devised by Marvin, Laprade, and Morris. Regarding accent and prolongation, I reference the work of Roeder and Straus, respectively. In chapters three and four, I analyse the first two movements providing a contour/prolongational analysis of the primary thematic material. Chapter five summarises these relationships and investigates the implications for research in the third movement of the Gellman's composition.
Keywords: Steven Gellman, Concerto for Viola and Orchestra, Contour, Theme, Contour Relations, Prolongation, Contour Prolongation, Narrative, Ego, Alter-ego, Elizabeth West Marvin, Paul A. Laprade, Robert D. Morris, Joseph Straus, John Roeder, Heinrich Schenker
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Laux, Charles Clair Jr. "The Effect of a Tonic Drone Accompaniment on the Pitch Accuracy of Scales Played by Beginner Violin and Viola Students." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429280299.
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Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.
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Thesis (M.M.)--Bowling Green State University, 2007.<br>Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.
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Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.
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This is a compilation of the music performed at the graduation recital of John
Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were
four pieces performed that afternoon including Azimuth for viola, clarinet and
marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a
Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of
Thomas Gray. Moments is a set of three pieces for woodwind quintet written in
1990. Viola Concerto is in three movements and was written in 1991 for Reg
Quiring, a former U.B.C. student. The concerto is scored for solo viola and
chamber orchestra. A cassette copy of the recital is available with this book.<br>Arts, Faculty of<br>Music, School of<br>Graduate
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Martinovský, Ondřej. "Béla Bartók - koncert pro violu a orchestr." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177972.
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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.
Full textAbstract:
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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Dempster, Thomas Jefferson. "Concerto for viola and orchestra." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-790.
Full textAbstract:
Completed in early 2010, the Concerto for Viola and Orchestra is a major foray into composing a concertante
work for the viola, an instrument without the rich history of concertos of the violin or ‘cello. In three movements, the
Concerto employs a diversity of compositional techniques for the viola and explores the timbral possibilities for the
orchestra. The work derives primarily from the series of initial gestures in the viola, and, in the span of over forty
minutes, as many possible permutations on these ideas are explored throughout the solo instrument and orchestra.
Following the score of the work is a theoretical analysis of the piece, including a condensed history of the viola
concerto as a genre. Within this examination, issues concerning approaches to deconstructing a 21st-Century orchestral
work are discussed alongside structural, melodic, motivic, and orchestrational analyses.<br>text
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Chen, Yi-Ling, and 陳怡玲. "William Walton:Concerto for Viola and Orchestra." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/t96adv.
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Huang, Ying-Yu, and 黃盈瑜. "William Walton : Concerto for Viola and Orchestra." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/12014908743869044296.
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Gutierrez, Alejandro. "Doctoral thesis recital (conducting)." 2011. http://hdl.handle.net/2152/16229.
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Weaver, Michael Alan Ryan Pamela. "An annotated bibliography of works by Pulitzer Prize-winning composers for solo viola, viola with keyboard, and viola with orchestra." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08262003-185238/.
Full textAbstract:
Treatise (D.M.A.) Florida State University, 2003.<br>Advisor: Pamela Ryan, Florida State University, College of Music. Title and description from dissertation home page (viewed 5-26-2004). Document formatted into pages; contains 161 pages. Includes biographical sketch. Includes bibliographical references.
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LIAO, HUI-CHIH, and 廖慧芷. "A Study of Concerto for Viola and Orchestra by William Walton." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/hz3t4j.
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Jurek, Josef. "Towards the Horizon /." 2000. http://wwwlib.umi.com/dissertations/fullcit/9959099.
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凌嘉惠, Chia-Huei Ling, and 凌嘉惠. "Musical Analysis and Interpretation of Concerto for Viola and Orchestra by William Walton." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/b8a66e.
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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.
Full textAbstract:
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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Asbell, Stephanie Ames 1970. "Béla Bartók's Viola concerto : a detailed analysis and discussion of published versions." 2001. http://hdl.handle.net/2152/12834.
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Tu, Hsien-Ching, and 涂弦慶. "Analysis and Interpretation of theConcerto for Viola with Orchestra, op. posth.by Béla Bartók (1881- 1945)." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/18631051594378783686.
Full textAbstract:
碩士<br>東吳大學<br>音樂學系<br>98<br>Because of the emergence of many fabulous musicians during 19th and 20th century, there were more and more composers composing music for the viola. Bartok is not only one of the greatest musicians of the 20th century, but his music also has great significant influences on the viola concertos
This thesis has three parts: the beginning is the introduction of Bartok’s life, background of composition, and masterpieces; the second part is the analysis of the constructions, musical forms, harmony, and musical phrases of the three movements; the last part is concluded with my personal opinions by interpreting the concerto and comparing different editions. Furthermore, I hope that, through this thesis, many musical learners and listeners who are unfamiliar with viola repertoires could easily understand and really enjoy the musical characteristics of Bartok more.
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Asbell, Stephanie Ames. "Béla Bartók's Viola concerto : a detailed analysis and discussion of published versions." Thesis, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008240.
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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
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Bolden, Benjamin. "Opus 25." Thesis, 1997. http://hdl.handle.net/2429/5905.
Full textAbstract:
Opus 25 is a collection of compositions which I created between September
1995 and April 1997. Instrumentation varies; there are works for choirs, chamber
ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in
this collection have been performed at some point during this same period, and
recordings of these performances can be found on the accompanying cassette.
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"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.
Full textAbstract:
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