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Dissertations / Theses on the topic 'Violoncello with chamber orchestra'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Yang, Shang Ju. "Sonic Imagery in the Viola Arrangement of Hwang-Long Pan's Concerto for Violoncello and Chamber Orchestra (1996/97)." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/294020.

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The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (

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2

Kimmel, Tyler T. "Hermes, a Concerto for Violoncello and Orchestra." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1542.

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This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral st

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3

Fakhouri, Fouad K. "Memento mori concert for violoncello and orchestra /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/fakhouri_fouad_kifah/index.htm.

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4

Moura, Eli-Eri Luiz de. "Nocturnales : for chamber orchestra." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23443.

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v.1. Musical composition -- v.2. Analysis.<br>In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decis

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5

Cook, James T. E. "Symphony for Chamber Orchestra." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/652.

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6

Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

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<p> <i> Ondo</i> was written for my grandmother’s 88th birthday. The composition comprises six sections based on a popular folksong, called “<i>Tanko-Bushi</i>,” which can be heard in every Japanese town during the <i>Bon</i> festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. “<i>Tanko-Bushi</i>” became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms s

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7

Wozniak, Trevor Mathew. "Four Fluctuations for Chamber Ensemble or Chamber Orchestra." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291050505.

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8

Jones, Christopher Wendell. "Masks, chamber concerto for violoncello and ensemble." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ49705.pdf.

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9

Yamanaka, Keiko. "X (Original composition, Chamber orchestra)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq50702.pdf.

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10

McManaman, Steve. "High wire : for chamber orchestra." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59600.

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The way I approached this analysis was to start with two general statements, one on the form and the other on the harmony. This was so the reader could get a sense of the direction of the piece. Then I did a fairly detailed analysis of the introduction since most of the ideas originate from there. The rest of the piece is discussed in less detail, but occasionally there were places that needed a little more detailed explanation. In the postscript I describe some of my influences.

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11

Yamanaka, Keiko 1970. "X : for chamber orchestra (1998)." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21497.

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X is a composition for a chamber orchestra with a duration of approximately 13'30″. The title X (read as "cross") refers to a cross-weave pattern created by superimposing the trills and written-out tremolos in the piece. While the trills and tremolos are used throughout the piece to create a sense of textural variety, they have an important function in controlling the formal structure of the piece. The texture, which is one of the important features of the composition, makes the overall form apparent.

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12

Poteat, Angelique M. "Spring Grove for chamber orchestra." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322411.

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13

Amstutz, Scott Anthony. "Mountain Views for Chamber Orchestra." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333460.

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Mountain Views for Chamber Orchestra is a three-movement piece that evokes various geographic and aesthetic attributes of the Catalina Mountains in Tucson Arizona. It makes use of musical elements such as time, theme, color/timbre, and texture from the chamber ensemble that are conducive to the evocation of contours, colors, and polyphonies necessary for the images found in the work. "Early Morning Clouds Descending on the Catalinas," the first movement of Mountain Views depicts the picturesque Catalinas as they are often seen in the mild winter mornings of Tucson. The slow introduction convey

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14

Kothman, Keith. "Concerto for clarinet and chamber orchestra /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9824645.

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15

Cohen, Marcos Jacob Costa. "Suite for piano and chamber orchestra /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422346.

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16

Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.

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The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a ron

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17

Omelchenko, Stas. "Concerto for Organ and Chamber Orchestra." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5032.

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This composition proposes and implements a way in which to incorporate the pipe organ into a contemporary instrumental setting. Considering the instrument's wide use in concert halls and its popularity with contemporary music, much of the timbre-based music has evaded incorporating it into its settings; for one reason or another, there are currently no timbre-based works composed for organ and chamber orchestra. By using the process of spectral analysis, this timbre-based composition demonstrates one possible way of doing so by investigating timbre similarities and differences between selected

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18

Hampton, Ryan. "Mass for chorus, chamber orchestra, and soloists." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5739.

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Thesis (M.M.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 3, 2008) Includes bibliographical references.

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19

Romo, Alfonso Molina. ""Luvina" A Short Ballet for Chamber Orchestra." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/600595.

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Luvina is a short ballet for chamber orchestra based on well-known Mexican writer Juan Rulfo's short story Luvina, from his book El Llano en Llamas. This three-movement ballet evokes the dark world of Luvina. Each movement depicts three images from the story resulting in nine images. Musically the text is represented by the use of diverse textures and compositional techniques, including tone rows, cryptograms and the use of timbre, color, and contour. The wind - as stated in the text - is used as a leit motif serving as a transition vehicle to move the story along. Unlike other ballets that co

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20

Keesecker, Jamie L. 1981. "Sinfonia Concertante for Horn and Chamber Orchestra." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9829.

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1 score (vii, 80 p.). A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>The genre "Sinfonia Concertante" typically features one or more solo instruments interacting with an accompanying orchestra. It is neither a concerto nor a formal symphony, but a hybrid of the two. In this composition, the horn is the featured instrument, accompanied by a chamber orchestra consisting of 1 Flute (doubling Piccolo), 1 Oboe, 2 Clarinets (second player doubling Bass Clarinet), 1 Bassoon, 1 Trumpet, 1 Trombone, 2 Percussioni

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21

Poston, Paul W. "Chamber Symphony." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731175.

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22

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

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23

Picton, Michael. "Curio shop, concerto for piano and chamber orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29856.pdf.

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24

Spasov, Miroslav. "Metaanthropos/Evolutio 2 for chamber orchestra and electronics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ47985.pdf.

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25

Picton, Michael. "Curio shop : concerto for piano and chamber orchestra." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27481.

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v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)<br>Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.<br>It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topi

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26

Feezel, Mark Brandon. "The light for two narrators and chamber orchestra /." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/feezel%5Fmark%5Fbrandon/index.htm.

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27

Ahn-Kim, Yong Hee. "Rhapsody for piano and small orchestra." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/ahn-kim%5Fyong%5Fhee/index.htm.

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Thesis (M.M.)--University of North Texas, 2001.<br>For piano and chamber orchestra (flute, oboe, clarinet, bassoon, trumpet, timpani and strings). Duration: ca. 9:00. Includes bibliographical references (p. xxxviii).

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28

Meilstrup, Sharon. "Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2309.

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The Czech composer Paul Wranitzky (1756–1808) worked primarily in Vienna during the height of musical Classicism. He was well-respected among the higher artistic circles during his day as a composer, violinist, and conductor. His excellence in conducting was recognized by Haydn and Beethoven. His compositions were favored by Empress Marie Therese. Despite his contemporary fame and esteem, his works are relatively unknown today. His works are being revived today, bringing these once popular compositions back to the public. This thesis presents a critical edition of Wranitzky's cello concerto in

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29

Golombisky, Matthew. "Determining What's Next: A Slow Movement for Chamber Orchestra." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/362.

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This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strin

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30

Esperilla, Garcia Efrain Ernesto. "La Primavera: Concertino for English Horn and Chamber Orchestra." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3148/.

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La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is conceptually based on the idea that spring is not the first of the seasons, but rather the last. As a result, all of its motivic materials are organically linked to one another, and function as paired forces that struggle for supremacy. The introduction of the third motive functions as a motivic synt

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31

Webb, Lisa A. (Lisa Ann). "Forever's Silent Song for Chamber Orchestra and Mezzo-Soprano." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500386/.

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This work is a setting of two poems by E.E. Cummings for chamber orchestra and mezzo-soprano soloist. The approximate durations of the first and second movements are respectively seven and one half, and six minutes. The music was inspired by the poetry and attempts to highlight the cyclic syntax which hallmarks Cummings' style. The first poem ("pity this busy monster, manunkind,") presents a sarcastic analysis of the progress of society. The compositional techniques used in the first movement involve elements of ostinato and fragmented motivic development to punctuate the penetrating message o

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32

Morgan, Christopher R. (Christopher Robert). "Ka: a Composition for Chamber Orchestra in One Movement." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500603/.

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Ka is a one movement composition for chamber orchestra consisting of three sections. The work's harmonic, melodic and rhythmic materials are derived from the Chinese I Ching ("Book of Changes"). The middle section was composed with the aid of a computer program written by the composer. The program generated the interval sequence arrays forming the harmonic basis for the piece. Ka is scored for flute, oboe, B𝄬 clarinet, bassoon, French Horn, trumpet, trombone, three percussionists, violin, viola, cello and double bass. The score is 62 pages with a 39 page analysis preceding the score. Ka has a

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33

Esperilla, Efrain E. "La primavera concertino for English horn and chamber orchestra /." connect to online resource, 2002. http://www.library.unt.edu/theses/open/20021/esperilla%5Fgarcia%5Fefrain%5Fernesto/index.htm.

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34

Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibr

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35

Ring, Gordon L. (Gordon Lee). "Symphony No. 1 "Concertante"." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331555/.

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Symphony No. 1 "Concertante" is a work of approximately twenty-two minutes duration for chamber orchestra. The work is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bassoon, trumpet, F horn, trombone, tuba, percussion, harp, piano (doubling celesta), solo violin, solo viola, solo cello, solo double bass, and strings.The percussion battery, which is to be played by one performer, includes three timpani, vibraphone, orchestra bells, xylophone, chimes, suspended cymbal, bass drum, snare drum, and two triangles. One group of instruments, including the eight wi

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36

Johnson, Crystal. "Abstracts for the mind : a work in three movements for viola and orchestra /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131464908.pdf.

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37

Sanders, Gregory L. (Gregory Lynn). "Night of Glass." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331939/.

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Night of Glass is for chamber orchestra with an estimated performance time of 14 minutes. The instrumentation for the work, using one player per part, is Flute (also small glass wind chimes), Oboe (also 1 tuned water crystal), Clarinet in A (also small glass wind chimes), Bassoon (also 1 tuned water crystal), Horn in F (also 1 tuned water crystal), Trumpet in C (also 2 tuned water crystals), Percussion (Vibraphone, Glockenspiel, Chimes, Bell Tree, Hammered Dulcimer, 3 Suspended Cymbals, 1 Large Tam-tam, 4 Roto Toms, 3 Tympani), Piano, 1st Violin, 2nd Violin, Viola, Cello, and Double Bass, Whil

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38

Hall, Emily. "Inside is the sky : for mezzo soprano and chamber orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83168.

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Inside is the Sky is a musical composition for mezzo soprano and chamber orchestra. It is a collection of four songs using poems by renowned Canadian poet Lorna Crozier: A Summer's Singing, In Moonlight, Tautologies of Summer, and Inner Space. The composer wishes to connect music and poetry on a fundamental level. The approach is to write music that responds not to the mere surface of the poems, but rather to their central poetic themes, by means of parameters intrinsic to music: harmony, rhythm, melody, and registral expanse.

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39

Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.

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40

Arnold, Daniel. "April: A Song Cycle for Low Voice and Chamber Orchestra." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/11.

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An original composition in five movements for voice and a chamber orchestra of eleven instruments. The first movement is an overture; the second and fifth movements have text by Sara Teasdale; the third and fourth movements have text by Edna St. Vincent Millay.

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41

Mosakowski, Anthony. "'Once was wood' (2002) : concertino for flute & chamber orchestra." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/10144/.

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42

Jolley, Jennifer. "All grief empty, the clear night passes for chamber orchestra /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242510142.

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Thesis (Master of Music)--University of Cincinnati, 2009.<br>Advisor: Mara Helmuth. Title from electronic thesis title page (viewed Aug. 3, 2009). Includes abstract. Keywords: Composition; Chamber Orchestra; Trumpet Solo. Includes bibliographical references.

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Rose, François. "L'écho des temps /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820989.

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44

Osborn, Nicholas Edward Martens. "Gray Sealed Chamber." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1585847974969558.

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45

Mavroudis, Anastasios Ruper Arthur. "Performing Sicilianos : selected chamber works and Concerto for Violin and Orchestra." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11857/.

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Yorgos Sicilianos (1920–2005) was educated in the tradition of Greece’s National School Movement, but managed to break away and to define his own musical personality. Over a 30-year period from 1954, he experimented with atonal neoclassical styles, the twelve-tone method and integral serialism, while searching for solutions to problems of form and structure. After 1980, Sicilianos concluded that the term ‘post-diatonic music’ best described his compositional style, which by then drew inspiration from literary works to give form and meaning to his music. This thesis analyses the compositional i

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46

Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.

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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

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47

Massoud, Raymond. "In defense of grey areas (2012) for violin and chamber orchestra." Thesis, Boston University, 2012. https://hdl.handle.net/2144/21214.

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Thesis (M.M.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>The following piece is comprised of one long movement lasting approximately fifteen minutes and is scored for a violin soloist and a chamber orchestra. Initially conceived as a concerto, the work explores the interactivity between

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48

Davis, Joshua. "X Y Z : chamber music composition for violin, violoncello, double bass, marimba, and percussion." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7032.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2007.<br>Thesis research directed by: Music. Title from t.p. of PDF. Also available in paper. Published by UMI Dissertation Services, Ann Arbor, Mich.

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49

Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.<br>Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).

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50

Clay, William Rudy Paul. "Incarnation for soprano duo and chamber ensemble /." Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>"A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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