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Bibliografías temáticas / Humanities -> music -> composition / Tesis

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Tesis sobre el tema "Humanities -> music -> composition"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Robinson, Chelseigh. "Music and Art: Exploring Cross-Pollination." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/115.

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As a music student who was always more attracted to the “academic” side of music rather than the performance side, I have come to hold a great respect for music history. This interest only grew when I got the opportunity to study music for a semester in Edinburgh, Scotland. Being surrounded by so much history, both musical and artistic, only fed my passion. I began to notice many similarities between the development of music and art both during lectures at the university and in my leisure time in galleries. I noticed that composers and visual artists in the same time period would hold similar

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2

Flores, Teresa. "Extended program notes for lecture/recital : the expansion of percussive writing in modern day wind ensemble repertoire." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/3596.

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The purpose of the lecture/recital was to demonstrate how pioneering composers such as Vincent Persichetti, Karel Husa, Joseph Schwantner, Michael Colgrass, and David Maslanka helped create the modem day wind ensemble percussion section. The Lecture/Recital consisted of a demonstration of extended techniques used in each of these composers’ works for wind ensemble, which enabled the composers to add different colors and timbres to the music. The lecture also included illustrations of possible setups and the number of percussion instruments utilized for each composition. A performance of variou

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3

Weber, Valerie R. "The Compositional Style of Francesco Geminiani: a Reflection of Theory and Practice in His Music and Guida Armonica Treatise." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001224.

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4

Pendley, James. "Visualizing sound : a musical composition of aural architecture." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003152.

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5

O'Brien, Mark W. "Crossed lines : for chamber ensemble." Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2298.

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This work was written for ten performers plus tape. The instruments are divided into two groups, each with a distinct personality: flute, clarinet, horn, violin and cello in an "orderly" group, and three percussionists, piano, doublebass and tape in a "chaotic" group. The first two sections introduce these groups separately. The third section returns to the order group, which begins to show a chaotic influence. The fourth section, for tape alone, echoes the first in its stability. The final section, for the entire live ensemble, fuses the two groups into a texture which is not entirely chaotic

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6

Annis, Shannon M. "Kandinsky’s Dissonance and a Schoenbergian View of Composition VI." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/122.

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In this study, I clarify the relationship between Wassily Kandinsky's move towards abstraction in painting and his encounters with the music and theory of Arnold Schoenberg. Prior studies have concentrated on the similarities in their theories, but I examine Kandinsky [sic] idiosyncratic understanding of Schoenbergian concepts and the evolution of his engagement with music theory over the period of 1909 to 1914. I identify dissonance as the aspect of Schoenberg's music and theory that Kandinsky found most relevant to his own developing compositional theory for abstract painting. In music, diss

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7

Stedman, Kyle D. "Musical Rhetoric and Sonic Composing Processes." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.

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This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community. I frame my research partici

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8

Mansilla, Juan F. "Voces - Drama in One Act." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3274.

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This thesis consists of a chamber-staged composition for soprano, baritone, modified Pierrot ensemble (flute, clarinet, piano, violin, viola and cello), Colombian tiple, and fixed media, together with an analytical paper in which I discuss my compositional techniques and their historical antecedents. The composition is an interpretation of an acute schizophrenic episode of a young female patient that is committed to a mental health facility. It was inspired by the need to bring awareness about mental illness and the struggles that these patients experience every day. In this work, I explore th

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9

Tanner, Paul. "The 'marimba-vibe' double keyboard: An explorative investigation of a nascent solo percussion idiom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2612.

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The development of the concert marimba and invention of the vibraphone in the twentieth century was accompanied by a concomitant growth in repertoire for each instrument. Both belong to the core instrumentation of many new music groups, and percussionists are at times required to perform the instruments simultaneously, combining their distinct timbral personalities. However, the number of solos for the ‘marimba-vibe’ (the term I use to describe a marimba and vibraphone arranged in close proximity to each other in order to be performed by one player) without additional percussion instruments, i

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10

Hedelin, Fredrik. "Levande musik : Ritornellen och musikens skapande." Doctoral thesis, Luleå tekniska universitet, Musik och dans, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-66555.

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Many years of working with electroacoustic music evoke the question in what sense one can talk about life in music. The question does not concern traces of the composer's life in the work, vivifying performances or musical experiences full of life, but rather the life of music itself.In order to find an answer to the question I examine three solo concertos in the light of the philosophy of Deleuze and Guattari. The concertos, for flute, violin and piano respectively, with chamber ensemble, were composed within the frame of the dissertation and emanate from the ritornello form as found in Vival

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11

Einarsson, Anna. "Singing the body electric : Understanding the role of embodiment in performing and composing interactive music." Doctoral thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2567.

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Almost since the birth of electronic music, composers have been fascinated by the prospect of integrating the human voice with its expressiveness and complexity into electronic musical works. This thesis addresses how performing with responsive technologies in mixed works, i.e. works that combine an acoustic sound source with a digital one, is experienced by participating singers, adopting an approach of seamlessness, of zero – or invisible – interface, between singer and computer technology. It demonstrates how the practice of composing and the practice of singing both are embodied activities

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12

Borring, Kristian. "An investigation into theories of odd meter and their application to jazz composition and improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2023. https://ro.ecu.edu.au/theses/2665.

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This research examines how perception and cognition theories regarding musical meter may assist in the process of developing ‘odd meter’ practice in jazz for ‘melodic’ instrumentalists. Introduced in jazz as early as the 1950s, the integration of irregular meters into jazz practice has occurred only incrementally, as has the knowledge towards their theoretical premises. With the author acting as the intertwined composer and improviser, this study aims to develop an approach towards proliferating a ‘fluent idiolect’ to aid in obtaining clarity surrounding odd-meter types and present rhythmic an

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13

Darcey, Stephanie J. "An immersive study of the artistry of Gilbert Biberian —guitarist, composer, and pedagogue— and creative responses from a musical apprenticeship." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2764.

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This project examines the music of Istanbul-born British classical guitarist and composer Gilbert Biberian (1944-2023) and the potential of this music to stimulate original composition using an intuitive approach. Biberian is recognized as one of the most original and creative guitar composers from the second half of the twentieth century. His musical language embraces and integrates traditional tonality, jazz, post-tonal idioms, and the music of the Middle East. There are three strands to this project: an overview of Biberian’s life, philosophy, and music; a musical apprenticeship with Biberi

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14

Mustard, Jonathan A. "The integrated sound, space and movement environment : The uses of analogue and digital technologies to correlate topographical and gestural movement with sound." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/84.

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This thesis investigates correlations between auditory parameters and parameters associated with movement in a sensitised space. The research examines those aspects of sound that form correspondences with movement, force or position of a body or bodies in a space sensitised by devices for acquiring gestural or topographical data. A wide range of digital technologies are scrutinised to establish what the most effective technologies are in order to achieve detailed and accurate information about movement in a given space, and the methods and procedures for analysis, transposition and synthesis i

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15

Gerber, Michael. "Harmonic, melodic, and rhythmic analysis of four original compositions, along with performance considerations." FIU Digital Commons, 2007. https://digitalcommons.fiu.edu/etd/3577.

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The purpose of this thesis was to demonstrate the character, mood, and style of four original compositions. Each composition was thoroughly analyzed according to form, melodic content, harmonic content, rhythmic content, and technical elements related to performance aspects. These original compositions are highly technical, rich in dynamic shadings, and melodic and rhythmic intensity. Each composition is inspired by life experience, and attempt to provide a narrative to showcase a four-decade career in jazz performance.

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16

Blake, Andrew M. "Computational Analysis of Quarter-Tone Compositions by Charles Ives and Ivan Wyschnegradsky." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1588259095079479.

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17

Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

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18

Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.

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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult

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19

Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.

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The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by consi

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20

chien-hui, Chao, and 趙千慧. "Investigation of Music Composition Instruction by 6th-grade Music Teachers in the Arts and Humanities Learning Area in Changhua County." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/71314357678797387210.

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碩士<br>國立臺北教育大學<br>音樂教育學系碩士班<br>95<br>This study was aimed to investigate the situations about music composition instruction of elementary music teachers in Changhua County. The instrument of this study was the questionnaire “Investigation of Music Composition Instruction by 6th- grade Music Teachers in the Arts and Humanities Learning Area in Changhua County” developed by the researcher. The contents of this questionnaire included music composition beliefs, setting teaching goals, designing activities, compiling materials, selecting and using teaching strategies, and approaches of assessing mu

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21

Eves, R. David. "Syllabic and prosodic approaches to rhythmic composition: a collective instrumental case study." Thesis, 2008. http://hdl.handle.net/1828/1030.

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The purpose of the study was to observe and document the manner through which eight students from two separate Grade 2 classes combined both syllabic (musical) and prosodic (word) rhythmic composing strategies during an eight week composing unit. Through the triangulation of data collected in the form of a research journal, student compositions, videotapes of composing behaviour, and transcriptions of group student interviews, integrated and music dominated group composing processes emerged, as well as four dominant trends of composing behaviour. First, a dialectical relationship between phras

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22

Ishiguro, Maho A. "The affective properties of keys in instrumental music from the late nineteenth and early twentieth centuries." 2010. https://scholarworks.umass.edu/theses/536.

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The concept of key characteristics deals with the particular moods which different tonalities are believed to provide to music. Discussions regarding their existence and the validity of the phenomena have always been controversial because of a lack of fundamental reasons and explanations for them. Nevertheless, references to key characteristics have appeared in various fields of study and over many centuries: the Greek doctrine of ethos, writings of Guido d’Arezzo, Jean-Philippe Rameau’s Traité de l’harmonie, scribbles in Beethoven’s sketches, and several passages in Hermann von Helmholtz’s O

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23

Donkersgoed, Jeffrey Jerry. "An annotated bibliography of solo marimba music by Canadian composers, 1981-2006." Thesis, 2007. http://hdl.handle.net/1828/2409.

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This study catalogues the repertoire for solo marimba by Canadian composers from 1981-2006. It is the first annotated bibliography of this musical tradition. As such, it will be used by educators, students, and performers of all levels. The annotated bibliography includes publication information, general performance issues, and other comments specific to an individual work. The information was gathered exclusively from the websites of composers, performers, and publishers, the online editions of The Encyclopedia of Music in Canada or The Canadian Music Centre, and by examining the scores of th

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