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Dissertations / Theses on the topic 'Violin with wind ensemble'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

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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2

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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3

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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4

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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5

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

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6

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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7

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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8

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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9

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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10

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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11

Hebel, Martin. "Tides Within: Concerto for Wind Ensemble." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623167017549242.

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12

Searls, Jesse Patrick. "Rhapsody for Flute and Wind Ensemble." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243905910.

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13

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

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14

Anderson, Andrew E. (Andrew Edwin). "Hailstones and Birdcages for Wind Ensemble." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500256/.

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Hailstones and Birdcages is a composition of approximately thirteen minutes' duration and is scored for two flutes and piccolo, two oboes and english horn, three Eb clarinets, E clarinete, bass clarinet, two bassoons, two Eb alto saxophones, Bb tenor saxophone, three Bb trumpets, four F horns, three trombones, euphonium, two tubas, and three percussionists. Four instruments--one each of flute, oboe, Bb clarinet, and trombone--are used in concertante like fashion, and there are prominent solo passages for the first bassoon, as well. The work is a single movement in three sections, fast - slow - fast, with ritornello. and employs a free use of the total chromatic. Technically, the work is within the capabilities of an above-average high school or average college wind ensemble

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15

Gaudry, Danielle D. "L'Age d'or of the Chamber Wind Ensemble." Thesis, University of Cincinnati, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596498.

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This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader's life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d'or of wind chamber music, affecting the local music scene and continuing to hold influence on today's performers of wind music.

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16

Stover, Christopher D. "With/in : for trombone and wind ensemble /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11268.

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17

Fol, Alexandra [Verfasser]. "Exhalation/ Expiration for Wind Ensemble / Alexandra Fol." München : GRIN Verlag, 2011. http://d-nb.info/1182334091/34.

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18

Wilson, Eric C. "Manifest destiny : a symphony for wind ensemble." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1281300.

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19

Chatham, Rick 1962. "Constellations: For Wind Ensemble and Computer Music." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc1038771/.

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Constellations is a single movement work that explores the color between acoustic instruments and computer generated sounds. It is scored for four flutes (two doubling on piccolos), two oboes, two bassoons, eight B-flat clarinets, two bass B-flat clarinets; two alto saxophones, tenor saxophone, baritone saxophone; four trumpets in B-flat, four horns in F; three trombones, bass trombone; two tubas;piano; six percussionists; and contrabass. The duration of the work is nine minutes and twenty-eight seconds. Mapping of stellar constellations provide the primary material for all pitch and harmonic progressions throughout the work. Software synthesis and digital sampling techniques coalesce to produce the computer music on tape.

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20

Prinz, Kendall R. "As Darkness Falls: A Composition for Wind Ensemble." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2269/.

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As Darkness Falls is a composition that explores our interaction with several aspects of darkness through the use of musical imagery. The imagery attempts to reflect the moods, feelings, and impressions of a person as he or she interacts with darkness. The non-programmatic character of the composition allows listeners to superimpose their own experiences onto the musical tapestry in order to manifest a personal connection between the listener and the music. As Darkness Falls is a composition scored for a minimum instrumentation of piccolo, 6 flutes, 3 oboes, 3 bassoons, 9 B-flat clarinets, B-flat bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 B-flat trumpets, 4 horns in F, 3 tenor trombones, bass trombone, 2 euphoniums, 2 tubas, timpani, and 4 percussionists. The music consists of three movements (slow-slow-fast) lasting a total of approximately seventeen minutes. The duration of each of the three movements is six minutes, four and one-half minutes, and six and one-half minutes, respectively. The document also contains an analysis of the work by the composer. The analysis explores the compositional style of the work, focusing on musical aspects within each movement that were governing parameters in the compositional process.

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21

Trew, Michael Russell. "Movements, chamber orchestra Three movements for wind ensemble." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27228.

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Three Movements for Wind Ensemble, a 13-minute work for a wind ensemble consisting of twenty-five instruments, was composed in Vancouver between 1984-86. The first and third movements of this work are reminiscent stylistically of the Neo-classical tradition, while the second is a passacaglia involving a tonal ostinato juxtaposed with atonal ideas. Ideas, both thematic and structural, while entirely original, except for a 6-bar sequence in measures 59-64 of movement 1, were influenced by specific works of several composers. Stylistically, the composition is tonal, and reflects my background in jazz composition as well as my classical training. Chords are frequently characterized by the use of major second configurations, and melodies are derived from numerous sources. The music of Bach, Stravinsky, and Ives exert strong influences on the work. The work is difficult to categorize structurally, because the first and third movements are not traditional forms. I feel that the piece might appeal to both gifted and average listeners. The individual parts are not complex or difficult to perform, but the resulting ensemble yields an overall complexity. It is my hope that other composers will see the possibilities that I have explored as a basis for further exploration.
Arts, Faculty of
Music, School of
Graduate

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22

Richardson, William Stone. "Wind ensemble music for the trumpet : an excerpt guide /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992739.

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Thesis (D.M.A.)--University of Texas at Austin, 2000.
Vita. Includes bibliographical references (leaves 94-98). Discography leaves 92-93. Available also in a digital version from Dissertation Abstracts.

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23

Grove, Benjamin J. "Cruise/Control for Wind Ensemble and Fixed Electronic Media." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524481623531767.

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24

Greene, Adam. "A breath between : a double concerto for flute and violin with small ensemble /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099906.

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Thesis (Ph. D.--Music)--University of California, San Diego, 2003.
Vita. For flute and violin with ensemble of clarinet, violin, viola, violoncello, piano, oboe, bassoon, and double bass. Performance instructions precede score.

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25

Caines, Jacob E. "Frederick Fennell and the Eastman Wind Ensemble: The Transformation of American Wind Music through Instrumentation and Repertoire." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23482.

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The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

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26

Gensler, André [Verfasser]. "Wind Power Ensemble Forecasting : Performance Measures and Ensemble Architectures for Deterministic and Probabilistic Forecasts / André Gensler." Kassel : Kassel University Press, 2019. http://d-nb.info/117653517X/34.

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27

DeAlbuquerque, Joan. "Hemispheres for wind ensemble by Joseph Turrin a critical analysis /." connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/dealbuquerque%5Fjoan/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Nov. 9, 2000, Feb. 15, 2001, Apr. 26, 2001, Nov. 15, 2001, Nov. 28, 2001, and Apr. 25, 2005. Includes bibliographical references (p. 80-82).

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28

Bove, Kaitlin May. "PARTITA FOR 8 VOICES & WIND ENSEMBLE: A TRANSCRIPTION PROCESS." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/146.

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Partita for 8 Voices (2012) is a groundbreaking a cappella work that earned its composer, Caroline Shaw, the record of youngest recipient of the Pulitzer Prize for Music in 2013. While the work continues to receive performances from its premiere ensemble, Roomful of Teeth, no transcription of the piece to any other ensemble type existed at the beginning of this DMA project. The author sought to transcribe a piece by a living female composer with no work for band into the wind band medium. The resulting transcription, Partita for 8 Voices & Wind Ensemble, adds a new work to the repertoire of band literature that includes new, esoteric, and proprietary extended technique for wind and percussion instruments. The purposes of this DMA project are 1) to provide a brief analysis of Partita for 8 Voices, 2) to provide details of the trials, errors, and successes during the transcription process of Partita for 8 Voices & Wind Ensemble as well as recommendations for future conductors of the work, and 3) to provide anecdotal evidence of the important relationship conductors build with composer intent by embarking on a transcription process. The first chapter includes a biography of Caroline Shaw, the vocal ensemble Roomful of Teeth, and a timeline of Shaw’s compositional process regarding Partita for 8 Voices. The second chapter is a brief theoretical, timbral, and technical analysis of Partita for 8 Voices. Chapters three through seven discuss the transcriptional process and conductor’s insights for each of the four movements of Partita for 8 Voices & Wind Ensemble and general considerations. Chapter eight discusses anecdotal evidence of what conductors learn from the transcription process. An appendix of information including interviews, a graphical analysis of technical and timbral events in Partita for 8 Voices, and the full score for Partita for 8 Voices & Wind Ensemble is also provided.

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29

deAlbuquerque, Joan. "Hemispheres for Wind Ensemble by Joseph Turrin: A Critical Analysis." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4886/.

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Hemispheres is a three-movement work for winds written by Joseph Turrin in May 2002. Commissioned by Kurt Masur for the New York Philharmonic, he wished to include a piece exclusively for winds and percussion in the programming of his farewell concert that commemorated his eleven years as Music Director. The work is in three movements: Genesis, Earth Canto, and Rajas which represent three different cultural views of creation. Formally, this work is based structurally and thematically on melody rather than harmony. This analysis focuses on three main tools which unify this work. The first is that thematic material from the first movement is reintroduced and developed in the second and third movements. The second is a consistently reoccurring rhythmic grouping in threes. This three note motive, found in all three movements, is used both melodically and as an accompaniment. The third is the unifying pitch center of C. Through an economy of musical means, Turrin composed Hemispheres with only a minimal number of themes and motives, each developed through the course of all three movements.

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30

Makela, Steven L. "Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2435/.

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Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.

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31

Sanders, Nicholas William. "Forgotten Names." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2528.

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Forgotten Names is a fifteen-minute programmatic work for wind ensemble and electronics. The piece represents my aim to express conceptually the memories of human lives being lost with the passage of time. The two salient vehicles used to convey the concept are melodic motivic development and pre-recorded electronic audio accompanying the ensemble. The prerecorded electronics work in tandem with the ensemble and provide the audience with inferable aural symbolism. These audio samples are to be triggered by a percussionist by using the free, downloadable program, Pure Data along with a performance file provided by the composer. Forgotten Names also draws its influence from similar works by well-known American composers. The pitch material used in this work is derived from On the Transmigration of Souls by John Adams while the formal structure is influenced by Charles Ives’s The Unanswered Question.

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32

Walden, Joseph P. "Pandora for Wind Symphony." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429812769.

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Ada, Stephen L. "A fanfare for the makers, for wind ensemble : score and analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq24637.pdf.

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34

Spinella, Jake Robert. "Thorfin of Nibor| A Tone Poem for Wind Ensemble and Choir." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1594333.

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"Thorfin of Nibor" is a single-movement, programmatic work for wind ensemble and choir that centers on Thorfin, the Scottish Dwarf from the village of Nibor, and his epic adventure against an evil dragon. The piece is inspired by Robin Williams' influence on my life. The work pays homage to our joint interests, namely video games. The piece is 434 measures long. Prior to the score, an analysis of the piece provides an outline of the overall structure of the work as well as illustrations of the musical quotations used throughout the piece. The compositional decisions made during the creative process are explained by highlighting individual musical moments in the piece and then examining their correlation to the work. Inspirational material is also discussed and examined.

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35

Gunby, Matthew Clarke. "Ground to Dust." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459515242.

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Swanzy, David Paul. "The wind ensemble and its music during the French Revolution (1789-1795) /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598520.

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37

Sobieralski, Nathan James. "A performers analysis of Nicholas Francis' Concerto for trumpet and wind ensemble." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807701&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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38

Taylor, Benjamin D. "At Which Point." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300732113.

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39

Redfield, Stephen. "Four selected works by Vincenzo Orgitano (fl. 1759-1805) : resurrecting eighteenth-century accompanied keyboard sonatas as ensemble pieces for intermediate violinists /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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40

Zamo, Michaël. "Statistical Post-processing of Deterministic and Ensemble Wind Speed Forecasts on a Grid." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLA029/document.

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Les erreurs des modèles de prévision numérique du temps (PNT) peuvent être réduites par des méthodes de post-traitement (dites d'adaptation statistique ou AS) construisant une relation statistique entre les observations et les prévisions. L'objectif de cette thèse est de construire des AS de prévisions de vent pour la France sur la grille de plusieurs modèles de PNT, pour les applications opérationnelles de Météo-France en traitant deux problèmes principaux. Construire des AS sur la grille de modèles de PNT, soit plusieurs milliers de points de grille sur la France, demande de développer des méthodes rapides pour un traitement en conditions opérationnelles. Deuxièmement, les modifications fréquentes des modèles de PNT nécessitent de mettre à jour les AS, mais l'apprentissage des AS requiert un modèle de PNT inchangé sur plusieurs années, ce qui n'est pas possible dans la majorité des cas.Une nouvelle analyse du vent moyen à 10 m a été construite sur la grille du modèle local de haute résolution (2,5 km) de Météo-France, AROME. Cette analyse se compose de deux termes: une spline fonction de la prévision la plus récente d'AROME plus une correction par une spline fonction des coordonnées du point considéré. La nouvelle analyse obtient de meilleurs scores que l'analyse existante, et présente des structures spatio-temporelles réalistes. Cette nouvelle analyse, disponible au pas horaire sur 4 ans, sert ensuite d'observation en points de grille pour construire des AS.Des AS de vent sur la France ont été construites pour ARPEGE, le modèle global de Météo-France. Un banc d'essai comparatif désigne les forêts aléatoires comme meilleure méthode. Cette AS requiert un long temps de chargement en mémoire de l'information nécessaire pour effectuer une prévision. Ce temps de chargement est divisé par 10 en entraînant les AS sur des points de grille contigü et en les élaguant au maximum. Cette optimisation ne déteriore pas les performances de prévision. Cette approche d'AS par blocs est en cours de mise en opérationnel.Une étude préalable de l'estimation du « continuous ranked probability score » (CRPS) conduit à des recommandations pour son estimation et généralise des résultats théoriques existants. Ensuite, 6 AS de 4 modèles d'ensemble de PNT de la base TIGGE sont combinées avec les modèles bruts selon plusieurs méthodes statistiques. La meilleure combinaison s'appuie sur la théorie de la prévision avec avis d'experts, qui assure de bonnes performances par rapport à une prévision de référence. Elle ajuste rapidement les poids de la combinaison, un avantage lors du changement de performance des prévisions combinées. Cette étude a soulevé des contradictions entre deux critères de choix de la meilleure méthode de combinaison : la minimisation du CRPS et la platitude des histogrammes de rang selon les tests de Jolliffe-Primo. Il est proposé de choisir un modèle en imposant d'abord la platitude des histogrammes des rangs
Errors of numerical weather prediction (NWP) models can be reduced thanks to post-processing methods (model output statistics, MOS) that build a statistical relationship between the observations and associated forecasts. The objective of the present thesis is to build MOS for windspeed forecasts over France on the grid of several NWP models, to be applied on operations at Météo-France, while addressing the two main issues. First, building MOS on the grid of some NWP model, with thousands of grid points over France, requires to develop methods fast enough for operational delays. Second, requent updates of NWP models require updating MOS, but training MOS requires an NWP model unchanged for years, which is usually not possible.A new windspeed analysis for the 10 m windspeed has been built over the grid of Météo-France's local area, high resolution (2,5km) NWP model, AROME. The new analysis is the sum of two terms: a spline with AROME most recent forecast as input plus a correction with a spline with the location coordinates as input. The new analysis outperforms the existing analysis, while displaying realistic spatio-temporal patterns. This new analysis, now available at an hourly rate over 4, is used as a gridded observation to build MOS in the remaining of this thesis.MOS for windspeed over France have been built for ARPEGE, Météo-France's global NWP model. A test-bed designs random forests as the most efficient MOS. The loading times is reduced by a factor 10 by training random forests over block of nearby grid points and pruning them as much as possible. This time optimisation goes without reducing the forecast performances. This block MOS approach is currently being made operational.A preliminary study about the estimation of the continuous ranked probability score (CRPS) leads to recommendations to efficiently estimate it and to generalizations of existing theoretical results. Then 4 ensemble NWP models from the TIGGE database are post-processed with 6 methods and combined with the corresponding raw ensembles thanks to several statistical methods. The best combination method is based on the theory of prediction with expert advice, which ensures good forecast performances relatively to some reference forecast. This method quickly adapts its combination weighs, which constitutes an asset in case of performances changes of the combined forecasts. This part of the work highlighted contradictions between two criteria to select the best combination methods: the minimization of the CRPS and the flatness of the rank histogram according to the Jolliffe-Primo tests. It is proposed to choose a model by first imposing the flatness of the rank histogram

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

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

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Haxo, Cara. "And we drown." Digital Commons @ Butler University, 2015. http://digitalcommons.butler.edu/grtheses/265.

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Beams, Amber. "One Thousand North." Digital Commons @ Butler University, 2016. http://digitalcommons.butler.edu/grtheses/418.

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Wilcox, Russ. "A Constant Haunting." Digital Commons @ Butler University, 2019. https://digitalcommons.butler.edu/grtheses/512.

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Johnson, Carly Jo Lynn. "An annotated collection of twentieth century wind band excerpts for trumpet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117571186.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 137 p.; also includes musical examples. Includes bibliographical references (p. 133-137). Available online via OhioLINK's ETD Center

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Bernard-Stevens, Sarah Anne. "An examination of works for wind band, brass ensemble and percussion ensemble: “Suite Française” by Darius Milhaud, “Hats Off to Thee” by John Zdechlik and “Mercury Rising” by Nathan Daughtrey." Kansas State University, 2012. http://hdl.handle.net/2097/13756.

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Master of Music
Department of Music
Frank Tracz
The following report contains the research and analysis of three musical compositions prepared for effective rehearsal and performance for the Graduate Conducting Recital. The repertoire selected includes Hats Off to Thee by John Zdechlik, performed by the Kansas State University Brass Ensemble on April 18th, 2012; Mercury Rising by Nathan Daughtrey, performed by the Kansas State University Percussion Ensemble on April 3rd, 2012 and Suite Française by Darius Milhaud, performed by the Kansas State University Concert Band on April 25th, 2012 all under the direction of Sarah Bernard-Stevens. The report comprises extensive research and theoretical analysis compiled to effectively rehearse and conduct the above-mentioned works.

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Wang, Jennifer. "Wind in her hair for alto flute, vibraphone, electric guitar, voice, piano, violin, violoncello, and tape /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085678411/ucin1085678411.pdf.

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

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

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Treybig, Joel Andrew. "An investigation and analysis of Karel Husa's Concerto for trumpet and wind orchestra /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Radtke, William Joseph. "Three Attempts at Time Travel." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1909.

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Three Attempts at Time Travel is a piece for wind ensemble that is approximately ten minutes in length. It consists of a brief introduction and three continuous movements based on the same starting material. It is semi-programmatic, but it is not an attempt to depict a specific narrative. Rather, it portrays a scenario involving time travel. The concept of the piece begins with a person who uses a time machine to travel back to a certain point in time to change the result of an event in the their own life. During the piece, the person goes back to the same starting point three times with each “restart” resulting in a different outcome. On the final restart, a positive resolution is reached, but it is ultimately a conflicted ending because it is not the ending that the time traveler was aiming for. At the end of the introduction and each of the first two movements, a “time machine” motive consisting of: a Mahler hammer, a concert bass drum, a drum set, a thunder sheet, a suspended cymbal and a triangle occurs to signal the return to the original point in time.

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