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Dissertations / Theses on the topic 'Taiwanese Piano Ensemble Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Chen, Wei-Sian. "HARVEST FESTIVAL BY YANN-JONG HWANG: A PIANO DUET INSPIRED BY TAIWANESE FOLK TUNES." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/86.

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The purpose of this study is to provide an introduction and analysis of Harvest Festival, a work for piano four hands by Taiwanese composer Yann-Jong Hwang. This work incorporates elements of traditional Taiwanese music that is largely unfamiliar to performers and listeners beyond the border of Taiwan. With the exception of Professor Hwang’s own journal article on this piece, this project is the only study of Harvest Festival available in the United States or Taiwan. This research will be meaningful to both performers and piano teachers as an encouragement to include Yann-Jong Hwang’s work within their concert repertory. This document examines the background of Yann-Jong Hwang; briefly introduces Taiwan, the Amis tribe, and the Harvest Festival event; provides a structural analysis of all four sections of Harvest Festival; and concludes with an appendix consisting of a complete score of Harvest Festival.

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2

Macura, Nebojsa S. "Concerto for Piano and Wind Ensemble." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305645223.

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Milloway, Shawn. "Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592170249875699.

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4

Keating, Corey. "Flowing Ever Outward." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1374621813.

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5

Hsu, Sheng-Wei. "Interpreting the piano music of Taiwanese composer Kuo Chih-Yuan." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/15666/.

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In 2016 Taiwan gained its first Taiwanese, female President Tsai Ing-wen, at the same time, composer Kuo Chih-Yuan (1921-2013) was named by popular media as the ‘Father of Taiwanese Music’. Kuo Chih-Yuan was a Taiwanese composer who created music with elements of traditional Taiwanese music in ways which had not been done before. In this thesis I evaluate how Kuo uses traditional elements from Taiwanese music in the Kuo Chih Yuan Piano Solo Album and Concertino for Piano and String Orchestra, and suggest how an understanding of these influences might guide an appropriate performance of these works. In my final recital I present my own interpretation of Kuo’s piano music as a product of my research into his life and musical influences.

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Geronymo, Jairo Correa. "A method of sight reading for piano ensemble : with commentary and preparatory exercises /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11310.

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7

Sharp, Barry Shelton. "Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

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Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work involves two or more players of either ilk. In reference to the work presented here, Sizhu is a metaphor for the western instruments (flute and clarinet as “bamboo,” and violin and cello as “silk”) that are employed within the piece. It also refers to my use of a Chinese melody in the compositional process. The song, Er Quan Ying Yue (The Moon Reflected In Second Spring), was composed and performed regularly on the streets by the blind erhu player A Bing. The song has been fragmented, stretched, and varied to the point of near inscrutability, though it becomes more comprehensible following the mid-point. It inspires both structural and local events. The work also employs aspects of the spectral style. The first section is a slow distortion and transformation of the A harmonic spectrum; specific partials are emphasized as the spectrum expands and contracts. Additionally, fragments of the Chinese melody appear within the confines of each specific harmonic structure. The second part completely diverges utilizing assimilated pentatonic scale permutations. Finally, the third section synthesizes these two elements of musical material within the piece as the instruments morendo into silence.

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8

Milovanovic, Biljana. "A Study and Performance Guide to Dennis Kam's Sonata Ibis for Clarinet, Violin, Cello and Piano and a Performance Comparison to Four Earlier Versions of the Work." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/71.

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In 2005, Dennis Kam completed the Sonata Ibis which the ensemble Ibis Camerata premiered at the Festival Miami at the University of Miami that same year. The composition is the last of five versions of the same work, originally written for piano solo. The work was recorded by the Ibis Camerata, on their CD titled Glisten, and released in 2006 on the Albany Records music label. The composition presents an important addition to the existing repertoire for the ensemble of clarinet, violin, cello, and piano. Sonata Ibis is a single movement work not following traditional forms. The work reflects the composer's conscious aim of making works with different versions. One of the issues that this study takes up is the evolution of the Sonata Ibis through all five versions. Analysis of musical materials and techniques used in the Sonata are also a part of the study. One chapter of this paper deals with Dennis Kam's biography. One chapter discusses the formal structure and musical idiom of the work. Performance-related issues from the ensemble and a pianist perspective are discussed in the remaining two chapters.

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9

Goodman, Elaine Claire. "Analysing the ensemble in music rehearsal and performance : the nature and effects of interaction in cello-piano duos." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344009.

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10

Chan, Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok. "Inspired by the Hindu tradition compositions and reflections /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37933966.

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11

Damann, Benjamin A. "herbstlied." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615589042543498.

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12

Hsu, Cheng-Jen. "Pedagogical vignettes of Chinese and Taiwanese folk songs suitable for late-elementary-upper intermediate level piano students." Kansas State University, 2014. http://hdl.handle.net/2097/17647.

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Master of Music
Department of Music, Theater, and Dance
Virginia Houser
Folk songs are songs of unknown authorship passed down orally generation to generation, and often found in variants of words and tunes in different parts of a country or in different countries. They often represent the culture, the tradition, the life style and the music style in their era. Although there are many folk songs are still popular, they are rarely played during the piano lessons in Taiwan. In today’s piano lessons, the teaching mainly focuses on Western music and theory, like the major-minor system. The student begins to learn piano by the methods such as John Thompson or Nancy & Faber Piano Adventures. These methods build the foundation of their playing technique and the music theory. As their level goes up, they might have some opportunities to play the folk songs that are sung in different countries, such as the Hungarian folk music arranged by Bela Bartok. In the meantime, the piano teacher in Taiwan should not forget that they may have the responsibility to help the next generation to preserve the folk songs which present their culture. My research consists of an examination and performance of sixteen Chinese and Taiwanese folk songs in two collections: Piano Pieces on Chinese Folk Tunes for Children by Shui-Long Ma and Piano Pieces on Taiwanese Folk Tunes by Ching-Yi Lin. Each piece will be carefully graded into five levels: Elementary; Late Elementary/Early Intermediate; Intermediate; Upper-Intermediate; and Advanced. The features of each level will be discussed as well as the historical background and pedagogical aspects in particular piece of each level.

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13

Vaughn, Mark. "Monolith: A Piece for Midi Piano, Mixed Sextet, and Fixed Electronics." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011853/.

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Reference to a regular pulse is one of the most common ways of measuring time in music. As the basis for tempo, meter, subdivisions, and even formal symmetry, pulse, or the sonic articulation of regular units of time, is found throughout all levels of music. In this paper, I describe how I used a structure of twelve simultaneous pulses to compose "Monolith," a recent piece for MIDI piano, Pierrot ensemble, and fixed electronics. In the first chapter, I contextualize "Monolith" by briefly examining pulse's relationship to hierarchical structure in music and the possibilities for creativity in pulse-based hierarchical structures. In the second chapter, I analyze the use of pulse in Steve Reich's "Music for 18 Musicians," György Ligeti's "Self-portrait with Reich and Riley (with Chopin in the background), and Conlon Nancarrow's "Study No. 36 for Player Piano." In the third chapter, I describe in detail the relationship between the twelve-pulse structure and the various movements that comprise "Monolith," focusing on the relationship between compositional freedom and prescribed structure throughout the work.

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14

Sun, Wei-Yi. "A Description and Evaluation of Piano Works by Three Taiwanese Composers of the Twentieth Century: Tyzen Hsiao, Shui-Long Ma, and Gordon Shi-Wen Chin." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158738474695811.

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15

McCallum, Clinton McCallum Clinton McCallum Clinton McCallum Clinton. "Three pieces." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453675.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM and contains sound files of recordings of the pieces. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 21:00-25:00 ; ca. 10:00 ; ca. 9:00. Performance instructions precede each score The 2nd work reproduced from holograph.

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16

Sloan, Steven Ernest. "The Seasons: 30 Haiku for Flute, Clarinet, Violin, Cello, Mezzo-Soprano, and Baritone." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491382981518334.

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17

Blanchard, Scott. "Subjectivities." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143484643.

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Thesis (M.M.)--Bowling Green State University, 2006.
For B♭ clarinet, alto saxophone, violin, violoncello, percussion (vibraphone, timpani) and piano. Document formatted into pages; contains 1 score (26 p.) Duration: ca. 13 min. Includes bibliographical references.

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18

Chan, Sze-rok, and 陳詩諾. "Inspired by the Hindu tradition: compositionsand reflections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.

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19

Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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20

Grahl, Trevor Aaron Grahl Trevor Aaron Grahl Trevor Aaron Grahl Trevor Aaron. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464882.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 8, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF versions of the thesis and program.

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21

Hawley, Aaron (Michael Aaron). "Johannes Brahms's Ein deutsches Requiem: A Comparison of the Reduced Orchestration Techniques in Joachim Linckelmann's Chamber Ensemble Version to Brahms's Four-Hand Piano Version." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955024/.

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Recognizing the challenges small groups have to program a major work, in 2010, Joachim Linckelmann created a chamber ensemble arrangement of Johannes Brahms's "Ein deutsches Requiem." In 1869, J.M. Reiter-Biedermann published Brahms's four-hand piano arrangement of "Ein deutsches Requiem." Brahms's arrangement serves as an excellent comparison to the chamber ensemble version by Linckelmann, since it can be assumed that Brahms chose to highlight and focus on the parts he deemed the most important. This study was a comparative analysis of the two arrangements and was completed in three stages. The first stage documented every significant change in Joachim Linckelmann's recent chamber arrangement. The second stage classified each change as either a reduction, reorganization, or elimination. The final stage of the analysis was to compare the choices made by Linckelmann to those made by Brahms. The results show that Linckelmann's choices for reduction, reorganization, and elimination closely align with those of Brahms. The only differences between the arrangements can be attributed to Linckelmann's focus on retaining the original orchestral timbre and Brahms's focus on providing the original vocal parts.

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22

Bukvic, Ivica Ico. "Tabula Rasa." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1131065629.

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23

Pitman, Dennis. "Life Above the Permafrost." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1272739943.

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24

Wang, Yi-Wen. "A Selected List of Music for Solo Clarinet and Clarinet with Piano by Taiwanese Female Composers Composed between 1986 and 2015: The Investigation of a Neglected Repertory with an Annotated Bibliography." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984119/.

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Clarinet works by Taiwanese female composers are not well researched or catalogued, and to date, and no comprehensive research codifies this subcategory in Taiwan or elsewhere. A comprehensive research and bibliography is necessary to the international community. It is hoped that through this annotated bibliography, readers will gain a deeper understanding of this genre. This study contains a brief history of Taiwan's Western music history, the female composers' history in Taiwan, and literature review. A total of twenty compositions by eighteen different Taiwanese female composers are discussed in the annotated bibliography, including thirteen for unaccompanied clarinet and seven for clarinet and piano. Information includes a brief biography of the composer, the date of composition, duration, premiere, dedication, commission, location of the score, difficulty and commentary on the piece.

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25

Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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26

Goh, Yen-Lin. "Reimagining the Story of Lu You and Tang Wan: Ge Gan-ru's Wrong, Wrong, Wrong! and Hard, Hard, Hard!" Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1349118390.

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27

Bianchini, Gianni. "Doctoral thesis recital (jazz piano)." 2015. http://hdl.handle.net/2152/29653.

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Redner, Daniel Richard. "Master's thesis recital (piano)." Thesis, 2013. http://hdl.handle.net/2152/23269.

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Sirabhorn / Pat Metheny -- Cute / Neal Hefti -- The nearness of you / Hoagy Carmichael -- Tell me a bedtime story / Herbie Hancock -- Toy tune / Wayne Shorter -- Almost there / Daniel Redner -- Grow your own / Keith Jarrett.
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29

Ni, Pi-Lin Mastrogiacomo Leonard. "The significance of Shui-long Ma's composition in the evolution of Taiwanese piano music." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05032006-020904/.

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Treatise (D.M.A.) Florida State University, 2006.
Advisor: Leonard Mastrogiacomo, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-10-07). Document formatted into pages; contains 41 pages. Includes biographical sketch. Includes bibliographical references.

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30

Lobel, Herbert Hugh. "Master's thesis recital (composition)." 2011. http://hdl.handle.net/2152/16362.

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31

"Survey of Selected Contemporary Taiwanese Female Composers of Music for Solo Piano." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14296.

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abstract: The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
Dissertation/Thesis
D.M.A. Music 2011

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32

Sobkowska, Joanna Bridger Carolyn. "Works with chamber ensemble with piano written between 1950 and 2000 by Polish composers An annotated bibliography /." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-04102004-130053/.

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Treatise (D.M.A.) Florida State University, 2004.
Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

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33

"Don't Listen to Me, I'm Just Your Partner." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.30024.

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abstract: "Play less and listen more" is the prevailing wisdom whenever two musical partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems. However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author's own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one's partner for a brief moment can benefit the duo's ensemble and artistry. The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic.
Dissertation/Thesis
Doctoral Dissertation Music 2015

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Passos, Luis Otavio Teixeira. "Doctoral thesis recital (composition)." 2010. http://hdl.handle.net/2152/15983.

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Li, Ping-hui. "The dynamics of a musical tradition contextual adaptations in the music of Taiwanese Beiguan wind and percussion ensemble /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/34097082.html.

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36

"Convergences Op.28a for Woodwinds, Brass, Percussion and Piano by Marlos Nobre: A New Performance Edition and Analysis." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14880.

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abstract: Convergences, one of the best known orchestral pieces by Marlos Nobre, was originally written in 1968 and scored for winds, percussion and piano; however, that version was neither performed nor published. Upon contacting the composer, the author learned that there was no performance-ready edition available. The purpose of this project, therefore, was to create a performance edition of Convergences Op. 28a by Marlos Nobre; to lead the premiere performance of the original version of the work; and to provide potential future performers with a descriptive analysis of the work, along with biographical information about the composer. After receiving revisions from the composer, the author created a new score, using a music notation program; the score appears at the end of this document. Additionally, performance parts were extracted from the new score. The analytical portion of this paper discusses the structure of the three movements (Vivo, Adagio, Vivo), their interrelationships, and the organic use of motivic transformation that binds the movements together. The work is approximately twenty-one minutes long and is scored for a small wind ensemble comprising: flute/piccolo, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, six percussionists, and piano.
Dissertation/Thesis
D.M.A. Music 2012

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CHANG, HENG, and 張恆. "Making Classical Music by Comedy in Taiwan: Research into Audience Response to TLBE Brass(Taiwanese Comic Brass Ensemble)." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7gqv25.

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碩士
國立臺北藝術大學
文創產業國際藝術碩士學位學程(IMCCI)
106
This paper explored the hypothesis that comic elements from TLBE Brass concerts are the key factor to TLBE box office success. As a professional musician and director of TLBE Brass, I am motivated to explore audiences’ opinions of TLBE concerts. My research questions are: What are the elements that affect attendance toward TLBE concerts? Are there any audience suggestions concerning future TLBE concerts? This paper includes both ethnographic research and quantitative research.

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Ramirez, Pedro Felipe. "Trois soupirs pour ensemble sonate pour piano et un souvenir du présent pour orchestre À la recherche d'un langage personnel." Thèse, 2012. http://hdl.handle.net/1866/9981.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).
Ce mémoire de maîtrise comprend les partitions, l’analyse musicale et les fichiers audio de trois oeuvres que j’ai composées entre les années 2011 et 2012. Pendant l’élaboration des oeuvres, mes objectifs étaient axés sur la continuité du discours musical, appelant à l’interaction des éléments et évènements musicaux, à l’exploration de différentes nuances et niveaux transitionnels, ainsi qu’à la sobriété et clarté de l’orchestration. Cette recherche m’a aidé à mieux définir un langage musical plus personnel Le corps du texte comporte un chapitre pour chaque composition. Les oeuvres ici présentées sont: Trois soupirs, pour ensemble (deux voix -soprano et baryton-, deux violons, un alto, un violoncelle et un orgue positif) Sonate, pour piano Un souvenir du présent, pour orchestre
This thesis contains the scores, the analysis and the audio files for three works which I composed in 2011 and 2012. While compositing these works, I aimed at seamless flow and continuity, as well as exploring the effects of dynamics and transitions. I also focussed on transparent orchestration, and on making my intentions as direct and clear as possible. This research has permitted me to define a more personal musical language. The text contains a chapter for each piece. The three pieces contained here are: Trois soupirs, for 2 voices and small ensemble (two violins, viola, cello and a positive organ) Sonate, for piano Un souvenir du présent, for orchestra

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"When Chinese Sounds Meet Western Instruments, Yü Ko: Ensemble for Violin, Winds, Piano and Percussion by Chou Wen-Chung." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63093.

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abstract: ABSTRACT As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers. In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276). This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods. This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece.
Dissertation/Thesis
Doctoral Dissertation Music 2020

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Rumsey, Brandon Scott. "Master's thesis recital (composition)." 2014. http://hdl.handle.net/2152/23703.

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Weekes, Diana K. "Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis." 2007. http://hdl.handle.net/2440/57119.

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Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library.
This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

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"Three Sonatas for Violin and Piano: An Examination of Taiwanese and Western Influences on the Music of Dr. Wen-Pin Hope Lee." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8711.

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abstract: The purpose of this project is to examine the three Sonatas for Violin and Piano by Taiwanese composer Dr. Wen-Pin Hope Lee. The inspiration for these three sonatas comes from different aspects of the culture of Taiwan, and these influences occur so naturally within the music that one can neglect the beauty of them. In daily life, people tend to ignore those simple things that occur around them, but if they just pay close attention, there are always beautiful elements that can bring small miracles to their life. Lee's sonatas are the result of his careful consideration of the beautiful elements of his own culture. Through careful examination, the author has discovered that important musical ideas can be found in the artistic expression of one's native culture. Lee adapted the musical resources of Taiwan, including Taiwanese opera and the musical culture of the aboriginal people of Taiwan. In addition, he began infusing his compositions with Western musical elements due to his studies in the United States. The result is a series of three sonatas composed in a diverse array of styles. The three Sonatas for Violin and Piano by Lee are part of the genre of duo chamber music, a collaborative art demanding strong connections between the two performers. The process of ii rehearsing complicated pieces such as these poses a challenge that a solo performer does not encounter. While it is always beneficial to explore the background of the music before performing it, a deeper understanding of the music is achieved during the rehearsal process. The author has been invited by Lee to perform these three sonatas in 2011 with three distinguished violinists and, in preparation for these performances, has already recorded the three sonatas. Such an opportunity has created an examination of the collaborative process within the music and the challenges faced by both performers. In addition to an examination of the musical influences on the composition of these works and a biography of the composer, the author will also provide a performance guide to the works in the hopes of encouraging future performances.
Dissertation/Thesis
D.M.A. Music 2010

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Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.
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.
Tang Lok-yin.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.
Librettos (1st work) in English ; abstracts in English and Chinese.
Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"
Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas
Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics
Chapter Composition 4 --- Playing Game for Orchestra
Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra
Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra

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Grant, Quentin Stuart David. "Portfolio of original compositions." 2008. http://hdl.handle.net/2440/51095.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

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McKittrick, J. Cameron. "Graduate recitals." Thesis, 1994. http://hdl.handle.net/2429/5441.

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The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994.

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Kovarik, Christopher Matthew. "Graduate recital." Thesis, 1995. http://hdl.handle.net/2429/3727.

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The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording.

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Leong-she, Teddy. "« Autour de la musique narrative » ; « Les musiques de concert, de ballet et de film»." Thèse, 2009. http://hdl.handle.net/1866/4677.

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La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).
Ce mémoire comprend à la fois l’analyse et les partitions de toutes les oeuvres que j’ai composées tout au long de ma maîtrise, ainsi que les documents nécessaires à leur écoute et visionnement. Les analyses détaillées porteront essentiellement sur les pièces « Sirus-l’étoile double » pour orchestre symphonique et « La légende d’Astre d’Or » pour orchestre à vent, qui sont deux oeuvres de concert d’environ vingt minutes chacune et qui ont fait l’objet d’une commande par des orchestres amateurs. Le reste du mémoire sera consacré à quelques petites pièces de concert ainsi qu’un chapitre essentiel qui portera sur les musiques de sept petits films d’animation 2D et 3D d’étudiants finissants. Il ne s’agira donc pas de porter essentiellement l’analyse de l’ensemble des oeuvres de ce mémoire sur le côté intellectuel de la construction de chaque thème ou de chaque motif, mais évidemment sur la relation qu’elles entretiennent avec une histoire ou et des images ainsi que les émotions qui en découlent.
This thesis includes analysis and scores for every work I have composed as part of my Master’s degree, as well as documents necessary for listening and viewing. The detailed analyses essentially concern the work “Sirus-l'étoile double” for symphony orchestra and the work “La légende d’Astre d’Or” for wind orchestra, both of which are about twenty minutes in length and were the result of a commission from amateur orchestras. The rest of the memoir is dedicated to some short concert works and an essential chapter about music for students of 2D and 3D animated short films. The purpose of these analyses concerns not so much the intellectual side of the construction of every subject or motif, but the relationship the music has with a particular story and or image as well as the feelings that ensue from it.

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Wilcher, Marcus. "Real talk." Thesis, 2014. http://hdl.handle.net/2152/25255.

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This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. It is divided into six chapters, four of which are analytical and cover the following topics: Form, Melody, Harmony, and Other Compositional Techniques. Subcategories are used within these chapters to draw attention to specific compositional components relevant to the construction of the piece; illustrative tables and examples have been provided to assist in describing these components. The ultimate purpose of this document is to describe in detail my technical approach to the composition.
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Copeland, Warren. "Time for bee: a recital of compositions." Thesis, 1994. http://hdl.handle.net/2429/5123.

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Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well.

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