Relevant bibliographies by topics / Violin with wind ensemble

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Academic literature on the topic 'Violin with wind ensemble'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Violin with wind ensemble"

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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Corall, Georg. "The Lilien Partbooks in the Sonsfeld Collection (D-HRD Fü 3741a): A Reconsideration of the Role of Eighteenth-Century Prussian Hautboisten and their Engagement in ‘Art’ Music." Royal Musical Association Research Chronicle 49 (2018): 68–178. http://dx.doi.org/10.1080/14723808.2018.1443618.

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In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally routinely trained to perform on multiple wind instruments as well as string instruments.The Lilien Partbooks, which are part of the Sonsfeld Collection (the Sonsfeldsche Musikalien Sammlung; now held in the Bibliotheca Fürstenbergiana in Herdringen; D-HRD Fü 3741a), represent the most comprehensive primary source of music for such an ensemble. A detailed incipit catalogue of the compositions compiled in these partbooks draws together our current knowledge of the Lilien Partbooks and of eighteenth-century Prussian Hautboisten. The extensive catalogue of the works collated in the six partbooks constitutes a valuable aid for future research.
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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
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Biliaieva, N. V. "Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 171–90. http://dx.doi.org/10.34064/khnum2-18.10.

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Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (April 2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s  Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as: the timbre-texture embodiment of thematic invention (the peculiarities of orchestra compositions); the ensemble combinations of instruments and their meaning. The authors also analyze the composer’s favorite timbre-texture techniques. The authors define and consider the phenomenon of “timbre pointillism” typical for the timbre writing of the composer. The original symphonic works by Tchaikovsky have been studied many times. In 2019 a research by Yu. Abdokov was published in which the author considers the peculiarities of an orchestra in Tchaikovsky’s theatrical music. The orchestra in his symphonic compositions also has theatrical features, however with some peculiarities. The features of Tchaikovsky’s timbre-orchestra writing haven’t been analyzed yet, and this fact determines the scientific novelty of the research. The authors attempt to generalize the peculiarities of the timbre writing of the composer. Tchaikovsky himself always emphasized the necessity of a single and final variant of orchestration.   
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Ng, Kelvin S., and Gregor C. Leckebusch. "A new view on the risk of typhoon occurrence in the western North Pacific." Natural Hazards and Earth System Sciences 21, no. 2 (February 16, 2021): 663–82. http://dx.doi.org/10.5194/nhess-21-663-2021.

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Abstract. To study high-impact tropical cyclones (TCs) is of crucial importance due to their extraordinary destructive potential that leads to major losses in many coastal areas in the western North Pacific (WNP). Nevertheless, because of the rarity of high-impact TCs, it is difficult to construct a robust hazard assessment based on the historical best track records. This paper aims to address this issue by introducing a computationally simple and efficient approach to build a physically consistent high-impact TC event set with non-realised TC events in the THORPEX Interactive Grand Global Ensemble (TIGGE) archive. This event set contains more than 10 000 years of TC events. The temporal and spatial characteristics of the new event set are consistent with the historical TC climatology in the WNP. It is shown that this TC event set contains ∼100 and ∼77 times more very severe typhoons and violent typhoons than the historical records, respectively. Furthermore, this approach can be used to improve the return-period estimation of TC-associated extreme wind. Consequently, a robust extreme TC hazard assessment, reflective of the current long-term climate variability phase, can be achieved using this approach.
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O'Loughlin, Niall. "Wind Ensemble." Musical Times 128, no. 1727 (January 1987): 32. http://dx.doi.org/10.2307/964644.

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Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (July 2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.
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Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (June 30, 2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.

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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. These materials provide original solutions to challenges concerning individual elements of violin playing and the musical development of students. Therefore, they also represent an important contribution to the development of violin pedagogy and violin playing in Slovenia.
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Dissertations / Theses on the topic "Violin with wind ensemble"

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Harman, Brian. "Dialectics for wind ensemble." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100752.

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Dialectics is a musical composition for 32-instrument wind ensemble. The materials and models used in the piece are based entirely on the harmonic series and on naturally-occurring acoustical phenomena that are stretched out in time, and that undergo a variety of transformational processes. A dialectic is created between two musical principles, each based in a different manner on the concept of reverberation.
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Harbin, Douglas A. "Symphony for wind ensemble." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1338882.

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Symphony for Wind Ensemble is written for piccolo, 2 flutes, 2 oboes, English horn, E-flat clarinet, 3 B-flat clarinets, bass clarinet, contrabass clarinet, 2 bassoons, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 horns in F, 2 comets, 4 B-flat trumpets, 3 trombones, tuba, string bass, and 6 percussion lines that include: timpani, xylophone, castanets, vibraphone, chimes, 2 suspended cymbals, crash cymbals, triangle, snare drum, tambourine, tenor drum, crotales, bass drum, guiro, and tom toms (high, medium high, medium low, and low). The piece is comprised of three main themes: a rhythmic, harmonic, and a melodic theme. Formally, the symphony is in a complex ternary form with an introduction, transitions, and coda. While the symphony is not tonal, particular attention is given to open fifths, and scales that do not have an open fifth above the tonic, such as the Locrian, or the whole-tone scales.
School of Music
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Oldham, Ryan Mobberley James. "Symphony for wind ensemble." Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
"A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Online version of the print edition.
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Flory, Neil Randal. "Suite for wind ensemble /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992736.

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Smith, Rob. "Whirl for wind ensemble /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Rickwood, Christopher M. "Persistence: for Wind Ensemble." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278876/.

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Persistence is a composition scored for piccolo, 2 flutes, 2 oboes, English horn, 2 bassoons, E-flat clarinet, 3 1st B-flat clarinets, 3 2nd B-flat clarinets, 3 3rd B-flat clarinets, bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 3 B-flat trumpets, 4 French horns in F, 2 trombones, bass trombone, baritone, tuba, timpani, and 4 auxiliary percussionists. The music consists of three movements, fast-slow-fast, lasting approximately eleven and one-half minutes. The three movements last three minutes and twenty seconds, five minutes and thirty seconds, and three minutes and ten seconds respectively.
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Houglum, Daniel Patrick. "Sola fides sufficit: Concerto for violin and ensemble." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1633.

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Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expansion, orchestration, and ultimately a recomposition of Et si sensus deficit… The melodic, harmonic, and formal material in Sola Fides Sufficit is largely based on my detailed musical analysis of the Pange Lingua, an unaccompanied 13th century plainchant written by St. Thomas Aquinas. The six-phrase melody is well-known in the Roman Catholic tradition for its performance at the end of Holy Thursday Mass. My analysis drove my compositional choices regarding two distinct objectives: One, to reflect the chant material in overt ways (e.g., use of neighbor figures) and two, to intentionally diverge from the original chant material, at times exploiting or exaggerating elements purposefully avoided in the chant (e.g., the tritone). I utilized both ways of decision-making to create drama, contrast, tension, and resolution in the piece. My large-scale formal goal was to create a cohesive composition utilizing particular surface and structural aspects of the Pange Lingua melody, while withholding presentation of the melody in its entirety until the climax (conclusion) of the work. Fragments from the chant were selected and employed in varying contexts depending on the formal goals of each section. Some fragments were presented with few changes, while others were transformed and developed through tonality, registration, timbre, and rhythm. My structural design was shaped by four words of character the composer Witold Lutoslawski perceived as essential in the creation of his large-scale works: Introduction, Narrative, Transitional and Concluding. Influenced by Lutoslawski’s psychological approach to listener perception as a compositional and analytical tool, Sola Fides Sufficit unfolds in four unbroken parts, each portraying primarily one of these four formal characters. Within each movement, these formal characters also occur on a smaller scale and give shape to each section. Only during the Narrative portions is the content the most important aspect perceived. During the Introductory, Transitional, and Concluding music, however, the role of the given section in the form is more important than the content.
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Cech, Andrew J. "Brother's lament for wind ensemble." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244578892.

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McDonald, Richard F. (Richard Frederic). "Kinetico for Chamber Wind Ensemble." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504015/.

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This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.
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Palamara, Jason Andrew. "Dysphonia, for solo violin, chamber ensemble and live electronics." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1718.

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DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system worn by a dancer. The piece was choreographed by Professor Charlotte Adams of the University of Iowa Dance Department and premiered at the Faculty Graduate Dance Concerts in February of 2015. This piece is inspired by ongoing research into computer programming, gesture and music-making, artificial intelligence (AI), and creative algorithms. While the actual algorithms I developed for use in this piece are far from sentient, it is my hope that this piece may bring about discussion and further interest in creative AI. In our initial discussions, choreographer Charlotte Adams and I discovered that we both have witnessed a large number of people buying into immersive technologies without questioning the total cost to their well being, without questioning whether the technology has a positive impact on their lives, and without an understanding regarding the complex changes being wrought in our society due to the mass adoption of such technologies. Thus we designed this piece around the technology itself, so that the union between the dancer and the prosthesis is brought about by the movement and action that takes place in the piece. The intent was to create a scene where the audience suddenly becomes aware that something new is happening, namely that the dancer’s glove has started to make noise and there is a new connection made between the music and the dance.
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Books on the topic "Violin with wind ensemble"

1

Giegling, Franz. Werke zweifelhafter Echtheit. Kassel: Bärenreiter-Verlag, 1996.

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Maloney, S. Timothy. Canadian wind ensemble music. DeLand, Fla: [s.n.], 1985.

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Maloney, S. Timothy. Canadian wind ensemble literature. Rochester: [s.n.], 1986.

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M, Stoneham A., Clark David Lindsey, and Stoneham A. M, eds. The wind ensemble catalog. Westport, CT: Greenwood Press, 1998.

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A, Gillaspie Jon, and Clark David Lindsey, eds. Wind ensemble sourcebook and biographical guide. Westport, Conn: Greenwood Press, 1997.

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Blinkhorn, Daniel. Air masses: Wind ensemble : grade 6. Hensall, ON: Lighthouse Music Publications, 2008.

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Girsberger, Russ. Percussion assignments for band & wind ensemble. Galesville, MD: Meredith Music Publications, 2004.

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Hartley, Walter S. Caprice for bassoon and wind ensemble. Boca Raton, Fla: Edwin F. Kalmus, 1989.

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Stoneham, A. M. Wind ensemble sourcebook and biographical guide. Westport, Conn: Greenwood Press, 1997.

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Wilder, Alec. Concerto for alto saxophone and wind ensemble. Newton Center, Mass: Margun Music, 1989.

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Book chapters on the topic "Violin with wind ensemble"

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Papiotis, Panagiotis, Marco Marchini, Esteban Maestre, and Alfonso Perez. "Measuring Ensemble Synchrony through Violin Performance Parameters: A Preliminary Progress Report." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 267–72. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30214-5_36.

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Santos, Pedro, Luisa F. Villa, Aníbal Reñones, Andrés Bustillo, and Jesús Maudes. "Wind Turbines Fault Diagnosis Using Ensemble Classifiers." In Advances in Data Mining. Applications and Theoretical Aspects, 67–76. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31488-9_6.

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Marndi, Ashapurna, and G. K. Patra. "Multidimensional Ensemble LSTM for Wind Speed Prediction." In Communication and Intelligent Systems, 595–606. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1089-9_47.

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Heinermann, Justin, and Oliver Kramer. "Precise Wind Power Prediction with SVM Ensemble Regression." In Artificial Neural Networks and Machine Learning – ICANN 2014, 797–804. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11179-7_100.

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Cornejo-Bueno, L., J. Acevedo-Rodríguez, L. Prieto, and S. Salcedo-Sanz. "A Hybrid Ensemble of Heterogeneous Regressors for Wind Speed Estimation in Wind Farms." In Intelligent Distributed Computing XII, 97–106. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99626-4_9.

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Zhang, Chi, Haikun Wei, Tianhong Liu, Tingting Zhu, and Kanjian Zhang. "Short-Term Wind Speed Forecasting Using a Multi-model Ensemble." In Advances in Neural Networks – ISNN 2015, 398–406. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25393-0_44.

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Vychuzhanin, Pavel, Nikolay O. Nikitin, and Anna V. Kalyuzhnaya. "Robust Ensemble-Based Evolutionary Calibration of the Numerical Wind Wave Model." In Lecture Notes in Computer Science, 614–27. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22734-0_45.

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Qin, Shiyao, Kaixuan Wang, Xiaojing Ma, Wenzhuo Wang, and Mei Li. "Ensemble Learning-Based Wind Turbine Fault Prediction Method with Adaptive Feature Selection." In Communications in Computer and Information Science, 572–82. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6388-6_49.

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Shi, Lixian, Huaiping Jin, Biao Yang, and Huaikang Jin. "Selective Heterogeneous Ensemble Method Based on Local Learning and Evolutionary Multi-objective Optimization for Wind Power Forecasting." In Advances in Intelligent Systems and Computing, 405–13. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1843-7_47.

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Williams, David A. "The iPad as a Musical Instrument!" In Creative Music Making at Your Fingertips, 83–97. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0007.

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When used to make music, the tablet device is a musical instrument and has several things in common with traditional wind and string instruments: It can be played well, making wonderful music, and it can be played poorly, producing sounds that are wanting in terms of musicality. First, and foremost, a tablet will make no sound until a human touches it. Second, practice is required to perform correctly on a tablet, and the performer must build technique. The tablet, like an oboe or violin, will do nothing musical until a human being interacts with it, develops technique through practice, and makes musical decisions using it. It is possible to use tablets in live performance by examining real-life examples by an iPad ensemble that model learner-centered pedagogical principles. Taking into account the social and musical aspects of the musicians, the chapter discusses possible approaches to rehearsals, what performances might involve, including collaborations with other artists, and breaking down the artificial fourth wall that too often is placed between musicians and audience.
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Conference papers on the topic "Violin with wind ensemble"

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Kurlapov, M. N. "Development of interaction skills between the conductor and participants in the work violin ensemble." In Scientific achievements of the third millennium. LJournal, 2020. http://dx.doi.org/10.18411/scienceconf-05-2020-15.

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Riley, Pete, Jon A. Linker, and Zoran Mikič. "Ensemble modeling of the ambient solar wind." In SOLAR WIND 13: Proceedings of the Thirteenth International Solar Wind Conference. AIP, 2013. http://dx.doi.org/10.1063/1.4811037.

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Doekemeijer, B. M., S. Boersma, L. Y. Pao, and J. W. van Wingerden. "Ensemble Kalman filtering for wind field estimation in wind farms." In 2017 American Control Conference (ACC). IEEE, 2017. http://dx.doi.org/10.23919/acc.2017.7962924.

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Zhang Wei and Wang Weimin. "Wind speed forecasting via ensemble Kalman Filter." In 2010 2nd International Conference on Advanced Computer Control. IEEE, 2010. http://dx.doi.org/10.1109/icacc.2010.5487187.

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Al-Yahyai, Sultan, Adel Gastli, and Yassine Charabi. "Probabilistic wind speed forecast for wind power prediction using pseudo ensemble approach." In 2012 IEEE International Conference on Power and Energy (PECon). IEEE, 2012. http://dx.doi.org/10.1109/pecon.2012.6450191.

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Wu, Yuan-Kang, Po-En Su, Ting-Yi Wu, Jing-Shan Hong, and Mohammad Yusri Hassan. "Probabilistic wind power forecasting using weather ensemble models." In 2018 IEEE/IAS 54th Industrial and Commercial Power Systems Technical Conference (I&CPS). IEEE, 2018. http://dx.doi.org/10.1109/icps.2018.8369963.

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Yong, Binbin, Fei Qiao, Chen Wang, Jun Shen, Yongqiang Wei, and Qingguo Zhou. "Ensemble Neural Network Method for Wind Speed Forecasting." In 2019 IEEE International Workshop on Signal Processing Systems (SiPS). IEEE, 2019. http://dx.doi.org/10.1109/sips47522.2019.9020410.

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Pinho da Silva, Nuno, Luis Rosa, and Rui Pestana. "Ensemble-based estimation of wind power forecast uncertainty." In 2015 12th International Conference on the European Energy Market (EEM). IEEE, 2015. http://dx.doi.org/10.1109/eem.2015.7216622.

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Long, Yitao, and Runfeng Zhang. "Short-term Wind Speed Prediction with Ensemble Algorithm." In 2020 Chinese Automation Congress (CAC). IEEE, 2020. http://dx.doi.org/10.1109/cac51589.2020.9326917.

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Santhosh, M., M. Dharani Sai, and Sanober Mirza. "Ensemble deep learning model for wind speed prediction." In 2020 21st National Power Systems Conference (NPSC). IEEE, 2020. http://dx.doi.org/10.1109/npsc49263.2020.9331836.

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Reports on the topic "Violin with wind ensemble"

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Simpson, M., V. Bulaevskaya, S. Wharton, and W. Miller. Comparison of multi-physics and multi-analysis ensemble prediction skill for wind ramp events. Office of Scientific and Technical Information (OSTI), October 2014. http://dx.doi.org/10.2172/1171343.

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Zack, J., E. Natenberg, S. Young, J. Manobianco, and C. Kamath. Application of Ensemble Sensitivity Analysis to Observation Targeting for Short-term Wind Speed Forecasting. Office of Scientific and Technical Information (OSTI), February 2010. http://dx.doi.org/10.2172/972845.

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Zack, John, Eddie Natenberg, Steve Young, Glenn Van Knowe, Ken Waight, John Manobianco, and Chandrika Kamath. Application of Ensemble Sensitivity Analysis to Observation Targeting for Short-term Wind Speed Forecasting in the Washington-Oregon Region. Office of Scientific and Technical Information (OSTI), October 2010. http://dx.doi.org/10.2172/1124982.

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Zack, John, Eddie Natenberg, Steve Young, Glenn Van Knowe, Ken Waight, John Manobainco, and Chandrika Kamath. Application of Ensemble Sensitivity Analysis to Observation Targeting for Short-term Wind Speed Forecasting in the Tehachapi Region Winter Season. Office of Scientific and Technical Information (OSTI), October 2010. http://dx.doi.org/10.2172/1124905.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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