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1
Yang, Chaul. "Solo Violin in Gustav Mahler's Symphonic Works as a Musical Sign." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062824/.
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Noted for both vocal and symphonic output, Gustav Mahler's musical sophistication constantly puzzled scholars in the past decades. In his symphonic works, the mixed forms and styles in combination with the vocal influence make it abstruse for listeners to detect the meaning of the use of traditional instruments. The solo violin, which has an extensive history of appearing in symphonic compositions since the Baroque era, is an instance of a traditional instrument given an unusual function. For instance, Mahler's violin solos do not tend to showcase the virtuosity of the instrument as they normally do in orchestral music. In order to closely examine the role of the solo violin, I rely on aspects relating to introversive semiosis such as harmonies, rhythms, textures, phrase structures, and forms; then my focus shifts to extroversive semiosis, specifically to topics and contextual factors. By considering the violin as a musical sign, listeners can comprehend the instrument's structure, syntax, and ultimately the complex logic of Mahler's musical discourse.
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Cho, Eun. "Geonyong Lee's Violin Works, Rhapsody for Violin and Piano and Heoten Garak: A Study of Compositional Style and Stylistic Influences." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157559/.
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The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.
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Du, Plessis Jacques. "Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017818.
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Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
4
Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.
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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to evaluate his essential self-characterization shift in his compositional style, the so-called "five lines."
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Martens, Hester Susanna. "Vakdidaktiese beskouing van geselekteerde Suid-Afrikaanse vioolmusiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2525.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>This study represents a contribution to the subject-didactical review of three prominent compositions
for the violin by three prominent South African composers, namely the Sonata on African Motives by
Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and
orchestra by Allan Stephenson (2007).
The three composers are discussed with reference to biographical detail and broad compositional style,
while the works are reviewed according to musicological aspects as well as violin specific didactical
aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods
pertaining to all three works was added.
In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work
loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his
“new” African voice (1984-). The African voice, represented by a melody he overheard a black
roadworker sing, ties the work together. The sonata consists of five movements, with the first and
fourth movements, and the third and fifth movements linked through content. This work presents
challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as
pitch difficulty due to unusual intervals without tonal context.
Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title
refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of
the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region).
The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr
makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two
works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping
being the main challenge.
Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it
is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies.
The concerto has, as is tradition, three movements. Although the work contains ample technical
challenges, it is obvious that it was composed by a string player – both the extensive running passages
and double stopping are quite possible to play once good fingerings have been found.
In the discussion of these works, attempts at solving specific technical problems are made.
6
Gao, Beixi. "The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984169/.
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Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project will focus on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time will be included in this document. I will analyze these works, including a comparison between the works of Westhoff and those of other composers during his time, to prove that Westhoff's solo works establish multiple stops as a central factor of German violin playing of the time, and, thus, to promote Westhoff's works as a complement to the extant repertoire of unaccompanied violin music written in the Baroque era before Johann Sebastian Bach's solo violin works and Georg Philipp Telemann's twelve fantasias for violin solo. Furthermore, this project will help one to better understand the use and function of multiple stops in the German violin repertoire in the seventeenth century.
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Hong, Dayeon. "The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505269/.
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This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love and revival also in his instrumental music. It is noteworthy that he borrowed only the "love themes" from his film scores for the first two movements of the violin concerto. The violin concerto was the first work written after Korngold returned to absolute music after a decade of composing for films to ensure his and his family's survival during the war. After the Anschluss, during his exile in California as a Jewish refugee, Korngold's love for his homeland Austria, his philanthropic concern for humanity, and longing for peace became his primary focus; these concerns are reflected in his Violin Concerto through his use of specific motives. By researching the historical and biographical materials, as well as employing linear analysis, this study seeks to explore the meanings of the linear motives in Korngold's music; more specifically, it attempts to show how particular motivic figures and tonal structures express the composer's ideas of transcendental "love." It argues that an in-depth understanding of both the technical and semantic aspects is also the first and foremost requirement for performing this piece.
8
Cheney, Stuart. "Dubuisson: A Study of His Music for Solo Bass Viol." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500315/.
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Dubuisson (fl.1666-c.1685) is the sole French viol player-composer between Nicolas Hotman (1613-1663) and Le Sieur de Sainte-Colombe (d.c.1700) whose works are extant. His four suites from a Library of Congress manuscript (1666) are the oldest dated French music for the bass viol; his approximately 125 pieces are contained in five manuscript sources. This thesis brings together, for the first time, all the music from the five sources for study and analysis. Together with the few biographical details, this material is used to assess his position within the French viol school. Brief histories of the viol and the suite in France precede a discussion of Dubuisson's contributions to the evolution of the genre.
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Madeira, Bruno 1988. "A obra para violão de Maurício Orosco : uma abordagem analítica, interpretativa, técnica e idiomática de peças selecionadas." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284550.
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Orientador: Fabio Scarduelli<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T16:38:37Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: A presente pesquisa buscou construir uma concepção interpretativa de obras representativas para violão solo do compositor Maurício Orosco (1973-), a partir de um conjunto de análises de diferentes pontos de vista - musical, interpretativo, técnico e idiomático. O Capítulo 1 expõe uma breve contextualização, dados biográficos do compositor e catálogo de suas peças para violão solo e outras formações. No Capítulo 2, são apresentadas análises musicais das peças escolhidas, ressaltando principalmente aspectos formais, texturais, motívicos, harmônicos e rítmicos. Por fim, o Capítulo 3 apresenta análises de aspectos interpretativos e técnicos, elementos integrantes da concepção interpretativa que se formou a partir das análises prévias e do contato do autor com o repertório. Também neste capítulo são expostos aspectos idiomáticos das obras analisadas, que constatam a estreita relação entre o contexto musical e a concepção técnico-instrumental do compositor<br>Abstract: This study aimed to build an interpretative conception of representative works for solo guitar by Maurício Orosco (1973-), from a set of analysis from different viewpoints - musical, interpretative, technical and idiomatic. Chapter 1 sets a brief contextualization, the composer's biographical data and catalogs of his pieces for solo guitar and other formations. At Chapter 2, there are presented musical analysis of the selected pieces, mainly emphasizing formal, textural, motivic, harmonic and rhythmic aspects. Finally, Chapter 3 presents analysis of interpretative and technical aspects, integral elements of the work's interpretative conception built from the previous analysis and the author's contact with the repertoire. Also in this chapter there are exposed idiomatic aspects of the analyzed works, which evidence the close relationship between composer's musical context and his technical-instrumental conception<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música
10
Rosenbaum, George G. (George Gene). "Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278956/.
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These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).
11
Chen, Kuo-Hua. "Effects of different performers and newly made violins on musicians' and non-musicians' perceptions of recorded violin performances /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055677.
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Thesis (D.M.A.)--University of Oregon, 2002.<br>Reproduction fo typescript. Includes vita and abstract. Includes bibliographical references (leaves 114-120). Also available for download via the World Wide Web; free to University of Oregon users.
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Visconti, Eduardo de Lima 1977. "A guitarra elétrica na música popular brasileira = os estilos dos músicos José Menezes e Olmir Stocker." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284970.
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Previous issue date: 2018-08-16T20:13:40Z<br>Resumo: O tema desta tese é a inserção da guitarra elétrica na música popular brasileira, processo que se deu de forma gradativa a partir de meados do século XX. Através do estudo dos estilos de José Meneses e Olmir Stocker, dois músicos que se dedicaram a esse instrumento, procuro compreender o modo pelo qual a guitarra elétrica não apenas foi introduzida, mas se adequou ao repertório da nossa música popular. Identificada como instrumento dotado de dispositivos artificiais (captadores eletrônicos) e portadora de uma carga de significados associados ao jazz e à música pop anglo-americana, a guitarra foi objeto de veneração e rejeição por parte de críticos e músicos. Ao mesmo tempo em que fora repudiada por uns como símbolo de "estrangeirismo" ou até mesmo do imperialismo cultural sobre a nação brasileira, era reconhecida por outros como elemento de sofisticação e de modernidade musical. Apoiado em análises de composições e gravações de José Meneses e Olmir Stocker, procurei demonstrar que os estilos desses músicos expressam, de certa forma, uma gama de conflitos simbólicos que permearam o meio musical ao longo de décadas, balizados pelas oposições entre nacional x internacional, erudito x popular, comercial x não comercial, tradicional x moderno. Além disso, foi possível verificar que, enquanto José Meneses - músico que iniciou sua carreira ainda nos anos de 1940 - pode ser reconhecido como um instrumentista que faz a transição do violão para a guitarra elétrica, Olmir Stocker faz parte de uma geração que consolidou o instrumento na nossa música popular, construindo um estilo que se amolda a um amplo leque de ritmos e gêneros populares regionais<br>Abstract: The subject of this thesis is the insertion of the electric guitar in Brazilian popular music, a process that occurred progressively from the beginning of the 20th century. Through the study of the styles of guitar players José Meneses e Olmir Stocker, I seek to understand how the electric guitar was not only introduced, but also adapted to the Brazilian popular repertoire. Identified as an instrument with artificial devices (electromagnetic pickups) and symbolically associated to jazz and Anglo-American pop music, the electric guitar was object both of veneration and rejection by critics and players. Even as it was repudiated by some as a symbol of "foreignness" or even of cultural imperialism against the "Brazilian nation," it was acknowledged by other as an element of musical sophistication and modernity. Based on analyses of compositions and recordings by José Meneses and Olmir Stocker, I have sought to show that the styles of these two musicians express, in a certain way, a series of symbolic conflicts that pervaded the musical milieu for decades. These conflicts were focused on binary oppositions between national/international, erudite/popular; commercial/non-commercial, traditional/modern. Moreover, it was possible to verify that, whereas José Meneses - a musician who began his career still in the 1940's - can be acknowledged as a player who made a transition from acoustic to electric guitar, Olmir Stocker is part of a generation that consolidated the instrument in Brazilian popular music, building a style adapted to a wide range of popular and regional rhythms and genres<br>Doutorado<br>Musica<br>Doutor em Música
13
李德芬 and Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.
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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.
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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
16
Lee, Young Jae. "An analysis of the Violin concerto of Johannes Brahms /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11207.
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Baldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.
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Kwak, Anna. "A performer's analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966575.
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Jakubowski, Kelly Joan. ""Informed spontaneity" a theoretical approach to the enhancement of creativity in performance /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243788323.
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Thomson, John A. (John Alistair). "The gypsy in violin music: a lecture recital featuring the music of Kreisler, Ravel, and Sarasate : together with three recitals of music by Bartók, Beethoven, Chausson, Dvořák, Schoenberg, Schubert, Shostakovich, and Tchaikovsky." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332656/.
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The lecture recital is an examination of Roma music with particular emphasis on violin repertoire. The lecture was followed by a performance of Kriesler's La Gitana, Sarasate's Zigeunerweisen, and Ravel's Tzigane.
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Wong, Hock-wei Wendy, and 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.
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Chan, Chor-shan Sharon, and 陳楚珊. "Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.
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Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy
Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the
text was then translated into Latin. Le speaker speaking in the audience’s native
language with a detached voice is added to the opera-oratorio to narrate the events
of the story throughout. With its mixed genres, the juxtaposition of the dead
language and the vernacular, the contrast of the spoken word and the music
performance, and the intertexual references in the music, a strong dialectical
tension is created.
This study is a critical review of the narrative mode of Stravinsky’s Oedipus Rex.
For a very long time, literature on Oedipus Rex has mainly focused on the
presentation of its music. However, as an opera-oratorio, Oedipus Rex is
composed to stage. This study aims at investigating the theatrical significance of
the work, for its theatrical presentation is influential and profound in 20th century
music theatre. Of particular note is the use of le speaker. The narration inserted in
between each musical episode creates a sense of ambivalence in the storytelling.
The work is therefore a bold challenge to the way stories have been told in theatre
over the past centuries.
The discussion concludes with the analysis of Julie Taymor and Seiji Ozawa’s
film version of Oedipus Rex in 1992. With Japanese elements infused in the work,
the dramatic tension between the spoken word and the music performance is
further polarised. This production is an example of how a combination of the
spoken word and the music performance pushes the Oedipus story further away
from Sophocles’ original.<br>published_or_final_version<br>Music<br>Master<br>Master of Philosophy
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Setsu, Eya. "Beethoven's “Kreutzer” SonataAn Analysis." University of Akron / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1619616899745278.
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Johnson, Stephen. "Hecate nocturne : for large orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.
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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.<br>The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.
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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.
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Chan, Tzu-Ying. "John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.
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English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford's "The Division Violin." The dissertation first surveys the development of English violin music in the 17th century. Then, the dissertation traces eight selected 16th-century Italian diminution manuals. This will help readers understand the progression of the Italian diminution and improvisation practice in the 16th century and how it relates to the English division of the 17th century. Finally, based on a thorough research of the 17th-century improvisatory style and rhetorical approach, the author of this study provides performance suggestions on "Mr. Farinell's Ground," No. 5 from "The Division Violin."
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Lu, Ye. "Comparison of finite element method and modal analysis of violin top plate." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119697.
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This thesis presents a study of the vibrational behaviour of the violin top plate and explores the possibility of using composite materials as a substitute for traditional wood in making top plates. Numerical simulations and experimental tests are compared to validate the results. The two most popular methods for numerical and experimental vibrational analysis, the Finite Element Method (FEM) and Experimental Modal Analysis are used, respectively. The vibrational behaviour of a spruce top plate is first studied by the two methods. The results show high coherence. Then the same modeling and testing techniques are applied on two composite plates. Results show that the vibrational behaviour of composite plates differs significantly from traditional wooden plates. Thus, suggestions for further improvement of the composite top plates are given.<br>Cette these propose une etude sur le comportement vibratoire de la table d'harmonie duviolon et explore la possibilite d'utiliser des materiaux composites comme un substitut pourle bois traditionnel dans la fabrication des tables d'harmonies. Des simulations numeriqueset des tests exprimentaux sont compares pour valider les resultats. Les deux methodes les plus populaires pour l'analyse vibratoire numerique et experimentale, la methode des elements nis (FEM) et l'analyse modale exprimentale sont utilises, respectivement. Le comportement vibratoire d'une table d'harmonie en epicea est d'abord etudiee par les deux methodes. Les resultats montrent une coherence forte. Puis la modelisation et même des techniques de test sont appliques sur deux plaques composites. Les resultats montrentque le comportement vibratoire de table d'harmonie composites differe sensiblement de plaques traditionnels en bois. Ainsi, des suggestions d'amelioration des tables d'harmonie composites du dessus sont donnes.
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Von, Holtzendorff Peter. "A parametric integration model for the analysis of late Baroque music : a tentative approach." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.
Full textAbstract:
In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.
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Wolf, Motje. "The appreciation of electroacoustic music : an empirical study with inexperienced listeners." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8680.
Full textAbstract:
The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was based on concepts distinguishing between electroacoustic music using (mainly) real-world sounds and generated sounds. The curriculum is presented in an online learning environment with an accompanying teacher’s handbook. The learning environment represents the prototype for the pedagogical ElectroAcoustic Resource Site offering online learning, blended learning and classroom-based learning. The website was developed following user-centred design; the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester. In five lessons music using real-world sounds (soundscape and musique concrète) was introduced, which included the delivery of a listening training, independent research and creative tasks (composition or devising a role-play). The teaching design followed the methods of active, collaborative and self-regulated learning. Data was collected by using questionnaires, direct responses to listening experiences before and after the teaching, and summaries of the teaching written by the participants. Following a Qualitative Content Analysis, the results of the study show that the participants’ appreciation of electroacoustic music changed during the course of these lessons. Learning success could be established as well as a declining alienation towards electroacoustic music. The principal conclusion is that the appreciation of electroacoustic music can be enhanced through the acquiring of conceptual knowledge, especially through the enhancing of listening skills following the structured listening training as well as the broadening of vocabulary to describe the listening experience.
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Lessoil-Daelman, Marcelle. "Une approche synoptique des motifs et des modules dans la messe parodique /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82914.
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This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pairs of masses, considering that Palestrina and Lassus treat two of the three models; (3) comparison of the three masses of Lassus written on three different models.<br>The synoptic approach to analysis is very interesting, because after the simultaneous identification of the motives in the model and in the mass movements (Kyrie and Credo), the entire complex of selected motives and their use in the construction of the modules become very easily detectable. The results of this research show that: (1) the model does not dictate the treatment, because the same model is treated differently by two composers; for instance, two masses of Palestrina based on different models are more alike, than those of Palestrina and Lassus based on the same model; (2) the model seems to be more attractive to the composer when it is one of his own compositions; for example, Palestrina borrows more material from his madrigal Io son ferito to build his Missa Petra Sancta, than Lassus does it in his Missa super Io son ferito ahi lasso based on the same model; (3) the style of the model does not determine the style of the mass; motifs from a non-imitative model can be treated in imitation in the mass, and (4) the sections of the Kyrie are more suited to formal development (generated by the repetitions of modules), than those of the Credo.
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Fromm, Mark Stanley. "Acheron, river of woe : for wind symphony." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99559.
Full textAbstract:
Acheron, River of Woe is a large-scale piece for wind symphony accompanied by an analytical thesis. It is a single-movement programmatic piece lasting twelve minutes scored for a wind symphony consisting of three flutes (one doubling piccolo), two oboes, English horn, two bassoons, contrabassoon, E-flat clarinet, three B-flat clarinets, A clarinet, bass clarinet, contrabass clarinet, four saxophones, four trumpets, four horns, two trombones, bass trombone, euphonium, tuba, string bass, timpani, and three percussionists. This piece represents a journey on the River Acheron, inspired by quotations taken from several Greek poets of antiquity. The entire piece flows as one long, fluid stream of music, with different sonic currents, waves, and eddies moving through it. Modal theory governs its harmonic structure and is the foundation of the piece.
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Chang, Yuli 1982. "Poetic afterthought : seven pieces for orchestra." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.
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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.
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Groven, Marielle 1984. "The ghost in the machine /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116133.
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The Ghost in the Machine is a piece of music far large wind ensemble. This piece is concerned with the interrelationship between the perception of time passing in music and the level of perceived density of musical activity. Specifically, the piece is designed according to the notion that the higher the level of musical activity within smaller intervals of time, the higher the perceived level of density. The piece consists of a large-scale density envelope that spans the length of the entire piece, wherein the level of density increases gradually towards and decreases away from the climax point. The shape of this density envelope is reflected on smaller scales that operate at various levels of the music, all of which are discussed in detail in the analysis part of the thesis. These density envelopes are used as a means of structuring the listening process over the course of the piece.
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García, de la Torre Mauricio 1976. "Cachalote." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.
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Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the appearance and ordering of the work's main gestures, and articulates the overall structure.
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Britton, Eliot. "Codecs." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116135.
Full textAbstract:
This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process.<br>Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and compression in order to explore the audio codec metaphor.<br>Volume two is the full score of Codecs, a work for large ensemble and live electronics. It is comprised of three sections and has a duration of approximately 14 minutes. The work is scored for flute (doubling on piccolo), oboe, clarinet in Bb (doubling on bass clarinet), bassoon, horn in F, trumpet, trombone, tuba, string quintet and percussion. Electronic drum pads and captured live sounds are used to control the live electronic elements.
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O'Neal, Thomas John. "Timbre as a compositional device in selected band repertoire since 1950." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186166.
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Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.
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Liu, Lai Ying. "Description as a transmedial mode of representation and its potential in instrumental music explored through a study of musical work inspired by paintings." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/77.
Full textAbstract:
Among various forms of art, music (and instrumental music in particular) is said to be the least descriptive art form, owing to its limitation with respect to hetero- referentiality--the ability to refer to things outside itself. However, in view of the impreciseness current in the definition of musical description itself, as well as a lack of case studies in understanding the modes of representation of descriptive music, there remain some questions about the fundamental nature and the potential of music as a medium of description. These questions will be raised and explored in this dissertation. It is particularly interesting that, while description is distinguished from narration in literary studies, in the past musicologists have often treated the two categories as one; thus, I posit that this ambiguity might blur our understanding of some aspects of the medial nature of music. By looking at semiotic features of music, I study how these features operate in delivering descriptive content through the analysis of programmatic music of various types. Their roles in developing the descriptive potential of music are also explored here. Building on theoretical studies by Werner Wolf, and the concepts of semiologists such as Ferdinand de Saussure and Charles Sanders Peirce, I discuss three musical cases: Franz Liszt’s piano work, Sposalizio (inspired by Raphael’s Lo Sposalizio della Vergine), Ottorino Respighi’s Trittico Botticelliano (inspired by three of Sandro Botticelle’s paintings), as well as Sergei Rachmaninov’s The Isle of the Dead, Op. 29 (inspired by Arnold Bocklin’s Die Toteninsel). The research presented here seeks to reveal how musical signs describe the elements of the painting, as well as how they gradually acquire their own symbolic meaning that, in turn, ultimately allows them to transcend the visual images, and operate to present the inner content of the painting, as expressed by either the painter or the composer towards the pictorial artwork.
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Calitz, Wilken Craill. "A multidisciplinary study of the phenomenon of violin vibrato." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1792.
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Thesis (MMus (Music))--University of Stellenbosch, 2009<br>Violin vibrato is the action by which a violinist periodically changes the frequency of a sustained note by moving the finger on the string, rapidly backwards and forwards. If it is artistically applied, it adds life, character and warmth to an otherwise dull sounding note. Although it has been used since the sixteenth century, very little research has been done on the reason why humankind would experience such periodic fluctuations as an object of beauty in violin performance.
In answering the question, this study explores a variety of angles of approach in order to understand the phenomenon in its full context. The history, development and geographical origin of the technique are firstly discussed in a diachronic fashion and provide the background for the subsequent synchronic research on the physical nature of violin sound and violin vibrato. The vibrato rates and widths of four virtuosi are measured and compared to highlight the differences and individuality which are argued to be a contributing factor to the perception of beauty of the technique. It is established in the final chapter that the brain is stimulated more by sounds with periodic changes than those that are presented in the steady-state which cast some light on why vibrato may be experienced as an appreciated addition to sound.
The thesis aims to present a unique view on the possibilities of interdisciplinary research of the phenomenon of violin vibrato. It further aims to present the research findings in a concise, logical, and systematic manner that could be of interest to both musician and scientist.
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Lin, Ya-Chiao. "The Two Sonatas for Violin and Piano by a Neglected Composer, Howard Ferguson: A Performer's Analysis." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392371929.
Full text
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Telesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.
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Adamcyk, David. "Balbuzard : for solo clarinet, wind symphony and electronics." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111504.
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Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of several rhythmic strata whose pitches, mainly part of diatonic, octatonic or chromatic collections, followed the contour of the entered shape. With this visual process, it was also possible to explore the creation of contrapuntal textures by entering diagrams of lines representing the path of each contrapuntal voice.*<br>*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
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Archambault, Étienne. "Sans étoiles du continu et du discontinu : essai sur les modalités de transition et d'incidence." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112609.
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Sans etoiles is a musical composition in three movements written for clarinet, horn, violin, cello and piano. This essay deals with the principal characteristics of the musical material used in the piece, the modalities governing transitional processes and the influence of these factors on memory and the perception of musical time. The artistic project gave way to a reflection on the directional aspects of music in order to establish transitional links between independent musical entities defined as 'musical objects'. The main transitional agent between these entities consisted of an autonomous musical layer bearing an exclusive impact on the surrounding musical context. The harmonic network of the piece, a set of interchangeable chord progressions, was conceived from the self-replication of a three-note cell. Each movement of the final work proposes a unique approach to musical time.
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Sherman-Ishayek, Norma Lillian. "Closing gestures in opening ideas : strategies for beginning and ending in classical instrumental music." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60092.
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This paper studies the formal ambiguity that arises when a closing gesture occupies a beginning location in the instrumental works of Haydn, Mozart, and Beethoven. Accordingly, I am interested in those formal areas within a piece that are concerned with the functions of either "beginning" or "ending."<br>I first present a systematic survey of the theoretical principles underlying the formal functions of beginning and ending in this style. I then show some specific examples of typical cadences and of initial units that imitate them. Next, I focus on the "main theme," observing how the function of "beginning" is performed by a "closing initial idea" and then, how the main theme's cadences express their proper function. Finally, I study what happens in other locations such as the return of the main theme, the cadence closing the form, and post-cadential material.
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Budón, Osvaldo 1965. "Alrededor de una música auscente." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84687.
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Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience.<br>Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to another. Transformation of the sound material is accomplished by means of digital signal processing and, in the instrumental parts, by way of compositional techniques modeled after specific electroacoustic sound processing techniques.<br>The organization of musical structures and formal processes was informed by certain characteristics associated with devices that handle information represented digitally, by techniques of electroacoustic sound production and transformation, and by particular extended instrumental techniques.<br>Volume 1 of this dissertation is a written text articulated in two parts. The first part gives a historical and aesthetical context for my composition. The second part is an analysis of materials and formal processes used in the piece. Volume 2 is the music score of the composition. A CD containing the patches and soundfiles utilized in the electronic part supplements both volumes.*<br>*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
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Christensen, Justin. "Tourniquet mirage." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83162.
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Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform.<br>The processed sound part is closely linked to the music in the orchestra. This is as a result of developing the pitch-material of the orchestra by spectrally analyzing the processed audio. At certain times, the relationship between the electronics part and the sound of the orchestra is blurred. To accomplish this, the related formal sections of the orchestra are situated in a canonic relationship with respect to the processed-sound part. The thesis is in two parts: an analysis and an orchestral score.
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Hollenbaugh, Kelsey. "A Descriptive Analysis of Instructional Strategies Used by Suzuki and Non-Suzuki Studio Violin Teachers." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24187.
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This study was an investigation of the instructional strategies used by both Suzuki and non-Suzuki teachers when teaching private studio violin lessons. This study was conducted in two phases. In phase one, participants (N = 85) completed an online questionnaire detailing percentage of lesson time spent in a variety of teaching behaviors. In phase two, participants (N = 3) were observed teaching a studio violin lesson, after which the data were analyzed to determine the teaching behaviors used in the lesson. The data gleaned from both phases were analyzed using descriptive statistics. Results indicated that Suzuki and non-Suzuki teachers exhibited similar amounts of many teaching behaviors, but some differences in the areas of parental involvement, assigned listening to recordings at home, and use of reading music, rote teaching, and playing from memory. Implications and future directions for research are discussed.
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Walker, William J. (William Jared). "The Fantasias of John Dowland: An Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500694/.
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In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fantasias. In Chapters III-V, the works are divided according to mode and analyzed in terms of counterpoint, dissonance, motivic development and modality. Chapter VI provides concluding remarks.
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Dicus, Kent Timothy 1958. "A stylistic analysis of selected piano works of Louis Moreau Gottschalk." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276718.
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Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through utilization and expansion of the basic form of ABA Coda. Through his use of varied ABA form with repeated and parallel passages, Gottschalk developed his particular style of phrasing, texture, and rhythm, all of which figure prominently in his works. Four pieces are examined with these concepts as the basis for analysis.
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Murdock, Matthew C. "Sidewinder syndrome : improvisational vocabulary and construction of Richard "Blue" Mitchell and Lee Morgan." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364934.
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During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisational vocabulary, as it pertains to trumpet performance practice. This study presents six annotated transcriptions from each artist focusing on elements of jazz vocabulary and solo construction.The study reveals vocabulary and solo construction preferences within the Sidewinder Syndrome. Results indicated the three most common harmonic generalization elements were digital patterns, change-running, and the bar-line shift. Complex harmonic generalization elements included bebop scale, 3-b9 movement, linear chromaticism, and tri-tone substitution / altered dominant. Vocal inflections derived from gospel music and urban blues were the half-valve, grace note, alternate fingerings, note bending, and fall. Bebop influenced articulation included upbeat-to-downbeat articulation and ghost note. Bebop influenced ornamentation included the two-sixteenth note ornament and the turn. Results suggest solo construction relied heavily upon the sequencing of rhythmic and melodic motives. Space was utilized for clarity, new concepts, and octave displacement. Developmental concepts included running eighth and sixteenth note lines. This study provides an opportunity for students of improvisation to isolate and study jazz vocabulary and solo construction of the Sidewinder Syndrome.<br>School of Music
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Simon, Karem Joseph. "Historical and performance perspectives of clarinet material performed in a thesis recital." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26038.
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This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture
in a more detailed and extensive account.
A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2.
Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works.
Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A.
Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice.
Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist
of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression.<br>Arts, Faculty of<br>Music, School of<br>Graduate