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Tesis sobre el tema "Orchestral resonance on the piano"

Autor: Grafiati

Publicado: 15 de febrero de 2025

Última modificación: 31 de julio de 2025

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1

Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale su

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2

O'Meara, Connor. "Selected Orchestral Excerpts for Bass Clarinet with Piano Reduction." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984170/.

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The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates th

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3

Hsu, Yu-Ching. "The Orchestral Mentality of Johannes Brahms' Piano Sonata No. 3." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011840/.

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Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his mo

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4

Kim, Grace Jisoo. "Functional Orchestral Collaboration Skills for Wind Band Pianists: A Study Guide." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862795/.

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As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends

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5

Carson, Benjamin Leeds. "The self and its pleasures : a collection of music for piano and music for orchestra /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3013702.

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6

Yun, Hee Sun. "An Orchestral Approach to Johannes Brahms' "Variationen und Fuge über ein Thema von Händel," Op. 24: Orchestral Transcription as an Interpretive Tool." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752377/.

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This dissertation provides an interpretive guide to Variationen und Fuge über ein Thema von Händel, Op. 24, written in 1861 by Johannes Brahms (1833–1897), in orchestral terms, using as basis the orchestral transcription by Edmund Rubbra (1901–1986), published as his Op. 47 in 1938. Not only does Brahms' Variationen present players with considerable pianistic difficulties, its intense harmonic and polyphonic structures make the music sound symphonic. The English composer Edmund Rubbra, a great Brahms enthusiast, transcribed the work for orchestra. The transcription in effect represents Rubbra'

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7

Delespaul, Caroline. "Le piano-orchestral en France entre 1835 et 1849 : une écoute de l'oeuvre pianistique." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2087.

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En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orches

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8

Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).

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9

Chang, Liang-Fang. "The orchestral elements in Franz Schubert's Wanderer fantasy-with implications for piano performance." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2680.

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Most pianists and music scholars consider Schubert's Wanderer Fantasy his most virtuosic piano work. The piece was written in November 1822 when the composer was twenty-five. By that time, Schubert was known for his lieder and some four-hand piano works, which were written in a very lyrical style. In comparison to these works, the Fantasy was written with a demanding technique requiring a richer, orchestral sound. The technical demands of the Wanderer Fantasy at times cause pianists to injure their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh. This type of t

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10

Jeoung, Ko Eun. "Bohuslav Martinů's Oboe Concerto, H. 353: A New Piano Reduction of the Orchestral Score." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752395/.

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Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano r

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11

Edwards, Peter Ivan Edwards Peter Ivan. "Two explorations in musical objects /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170275.

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Thesis (Ph. D.)--University of California, San Diego, 2005.<br>Includes 2 compositions: Puer natus est nobis (zu irgendeiner Zeit) for full orchestra, and Annicha, for flute, clarinet, and piano. Vita. Includes audio reel tape of compositions (analog, stereo., 7 1/2 ips : 7 in.).

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12

Zamparas, Grigorios. "Beethoven's Piano Concerto in E-Flat WoO 4: A Piano Reduction of the Full Orchestral Score Based on Jon Ceander Mitchell's Reconstruction." Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/6.

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Beethoven wrote his earliest piano concerto, the Piano Concerto in E-Flat Major WoO 4, in 1784-85. The surviving manuscript copy contains the solo part complete and a piano reduction of all orchestral passages (Tutti) whenever the soloist is not playing. That manuscript also includes Beethoven's cues for an instrumentation consisting of strings, horns and flutes. Eminent Beethoven scholar Willy Hess completed his own reconstruction of the concerto in 1943. His version has been recorded three times, but only one is currently available on the Philips label (442580-2). The newest reconstru

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13

Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my ar

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14

Bell, James Andrew, and andrew bell@anu edu au. "The Underwater Piano: A Resonance Theory of Cochlear Mechanics." The Australian National University. Research School of Biological Sciences, 2006. http://thesis.anu.edu.au./public/adt-ANU20080706.141018.

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This thesis takes a fresh approach to cochlear mechanics. Over the last quarter of a century, we have learnt that the cochlea is active and highly tuned, observations suggesting that something may be resonating. Rather than accepting the standard traveling wave interpretation, here I investigate whether a resonance theory of some kind can be applied to this remarkable behaviour.¶ A historical survey of resonance theories is first conducted, and advantages and drawbacks examined. A corresponding look at the traveling wave theory includes a listing of its short-comings.¶ A new model of the coc

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15

Ties, Bo Michael. "An orchestral approach to the piano works of Gabriel Dupont: remembering and recording a forgotten musician." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6312.

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Throughout the history of music there have been numerous composers who were well-known in their lifetimes yet faded from public performance and memory after their deaths. Some were remembered many years later and became the most prominent composers in western music. Others did not receive any such resurgence of interest. Gabriel Dupont (1878-1914) was a rising star in French music when he passed away at the age of 36. His operas, piano music and songs were widely known during his life, but he was virtually forgotten by the end of the 20th century. Since around 2000, there has been a growing in

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16

Clarke, Simon. "A critical study of Ravel's orchestral technique with a transcription of his sonata for violin and piano." Thesis, University of Manchester, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548668.

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17

Carenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.

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L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le pi

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18

Marshall, Eldred. "Conducting from the Piano? A Tradition Worth Reviving?" Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157619/.

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Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.

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19

Grant, John Ward. "Folio of compositions and critical commentary /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.

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20

Thompson, Joshua Ketring. "Libby Larsen's Concerto for Trumpet and Orchestra: an overview and reduction of the orchestral score for trumpet and piano." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1093.

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Libby Larsen's Concerto for Trumpet and Orchestra was commissioned by Daniel Culver and the Quad City Youth Orchestra, in celebration of its 30th anniversary. It was written in 1987 and premiered on May 8, 1988. Daniel Culver conducted the Quad City Youth Orchestra and David Greenhoe was the trumpet soloist. Despite Libby Larsen's ongoing success as a composer, the premiere performance is the only time the concerto has been performed and it has since remained virtually-unknown to the public. This project serves as a way in which to reintroduce Libby Larsen's Trumpet Concerto to the trumpet, or

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21

Lucas, Sarah Marie. "Fritz Reiner and the legacy of Béla Bartók’s orchestral music in the United States." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6608.

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During Fritz Reiner’s forty-year conducting career in the United States, he championed Béla Bartók’s orchestral music, programming Bartók’s orchestral works on over sixty concerts with the Cincinnati Symphony Orchestra, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, and with other major American orchestras. These included performances in which the composer himself appeared as a soloist. Moreover, Reiner continued to conduct Bartók’s music following the composer’s death, and his efforts to promote Bartók’s works contributed to their significance to the American orchestral repertoire

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22

Fateeva, Anna A. "Three Arias From Mozart’s Don Giovanni: a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of eac

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23

Chan, Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok. "Inspired by the Hindu tradition compositions and reflections /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37933966.

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24

陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.

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25

Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16097/1/Vicky_Yang_Thesis.pdf.

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As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original form. With this in mind, it can be argued that piano transcriptions of music originally written for instrumental ensemble is still a viable form of musical expression, because the piano is still the most widely used medium for the performance of art music in the Western world. Transcriptions of instrumental and vocal mu

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26

Yang, Vicky (Chia-Yi). "La Belle au Bois Dormant (The Sleeping Beauty) Tchaikovsky-Pletnev and Stravinsky's Petrouchka: a study of piano transcriptions comprising performances and analyses." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16097/.

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As the costs for mounting opera, ballet and orchestral concerts rise and as their audiences dwindle, piano transcriptions of works orchestrated for such concerts can be a viable way of disseminating the music more widely than if the music was presented only in its original form. With this in mind, it can be argued that piano transcriptions of music originally written for instrumental ensemble is still a viable form of musical expression, because the piano is still the most widely used medium for the performance of art music in the Western world. Transcriptions of instrumental and vocal mu

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27

Chan, Sze-rok, and 陳詩諾. "Inspired by the Hindu tradition: compositionsand reflections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.

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28

Cheng, Yu-sum Anthony, and 鄭汝森. "An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.

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29

Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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30

Kraevska, Sofia. "Terra Mirabilis: A Composition for Symphony Orchestra in Three Movements." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/199.

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Terra Mirabilis is a three-movement musical composition for symphony orchestra with piano solo inspired by natural landscapes photographed by the composer. The three movement composition and its corresponding landscapes portray three times of a day: early morning (I. The Mists), evening (II. Oceanus), and late night (III. Nocturne). Each chapter is devoted to the discussion of one movement, wherein overall concept and form are addressed, followed by detailed analyses of harmonic structure, motivic and thematic development, orchestration, and representational elements. As a complement to the

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31

Macauslan, John. "Schumann's music and Hoffmann's fictions." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.

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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestück

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32

"A Methodology of Rewriting Orchestral Reductions for Piano." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15993.

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abstract: Numerous orchestral reductions for piano are plagued by cumbersome passages that impede pianists from delivering phrases with flow and elegance. The vocal works of George Frideric Handel (1685–1759) and Richard Wagner (1813–1883) are among the more unwieldy of these. While arrangers of the piano vocal scores by these two composers admirably include as much orchestration as possible, their efforts often result in writing that is not idiomatic for the piano. The frustrating difficulties in the orchestral reductions of Handel’s “Empio, dirò, tu sei” (Giulio

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33

Klefstad, Kristian Iver. "Style and technique in two-piano arrangements of orchestral music, 1850-1930." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075615.

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34

"Portfolio of music compositions." 2002. http://library.cuhk.edu.hk/record=b5895999.

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Quartet -- Bagatelle-Kyrie eleison -- Déploration.<br>Wu Ming-yiu.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2002.<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Table of Contents --- p.ii<br>Acknowledgements --- p.iii<br>Compositions<br>Chapter 1. --- Quartet --- p.1<br>Chapter 2. --- Bagatelle - Kyrie eleison --- p.34<br>Chapter 3. --- Deploration --- p.47

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35

Bell, James Andrew. "The Underwater Piano: A Resonance Theory of Cochlear Mechanics." Phd thesis, 2005. http://hdl.handle.net/1885/49307.

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This thesis takes a fresh approach to cochlear mechanics. Over the last quarter of a century, we have learnt that the cochlea is active and highly tuned, observations suggesting that something may be resonating. Rather than accepting the standard traveling wave interpretation, here I investigate whether a resonance theory of some kind can be applied to this remarkable behaviour.¶ A historical survey of resonance theories is first conducted, and advantages and drawbacks examined. A corresponding look at the traveling wave theory includes a listing of its short-comings.¶ A new model of the cochl

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36

Kang, Jin-Young. "Resonance and dissonance in contemporary impressionistic music /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546.

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Thesis (M.A.)--York University, 2008. Graduate Programme in Music.<br>Typescript. Includes bibliographical references (leaves 52-53). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51546

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37

"Revising Les nuits d'été Op. 7: A New Version for Voice and Piano Following a Comparative Analysis of Berlioz’s Original Piano and Orchestral Versions." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.46223.

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abstract: Louis Hector Berlioz (1803-1869) was a pioneer of 19th century Romanticism in France. In the mid-19th century, he broke the traditional mold by connecting poetry and music through French song. This development transformed French song from the simple and structured Romance of the 18th century into the structural freedom of what he established as the a Mélodie. His song cycle Les nuits d’été, op 7 was composed first for voice and piano in 1841 and later arranged for voice and orchestra in 1856. After the 1856 orchestral version was completed, Les nuits d’été received greater recognitio

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38

Hardin, Philip Tad Bridger Carolyn Mozart Wolfgang Amadeus. "Effective orchestral accompaniment at the keyboard An evaluation and comparison of piano reductions for Mozart's clarinet concerto /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05082006-180649/.

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Treatise (D.M.A.) Florida State University, 2006.<br>Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 60 pages. Includes biographical sketch. Includes bibliographical references.

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39

"A portfolio of music compositions." 2003. http://library.cuhk.edu.hk/record=b5891434.

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Quintet for winds and piano -- Preludes and fugues for piano solo -- Variation for string quartet.<br>Wong Kong Yu.<br>Thesis submitted in: December 2002.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2003.<br>Includes bibliographical references (leaves ).<br>Abstracts in English and Chinese.<br>Abstract --- p.1 Page<br>Scores with Notes:<br>Chapter 1. --- Quintet for Winds and Piano<br>Note --- p.2 Pages<br>Score --- p.30 Pages<br>Chapter 2. --- Preludes and Fugues for Piano Solo<br>Note --- p.2 Pages<br>Score --- p.31 Pages<br>Chapter 3. --- Variations for String Quartet<br>Note

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40

"The Imitation of Orchestral Effects and the Expressive Role of the Piano in Richard Strauss's Sonata for Violin and Piano in E-flat Major, Op. 18." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25074.

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abstract: The Sonata for Violin and Piano in E-flat Major, Op. 18 (1888), was the last major work of chamber music by Richard Strauss (1864-1949). Although for only two instruments, the Sonata reflects Strauss's growing interest in symphonic writing both in his tone poems and orchestral songs, anticipating his style of orchestration and his expressive use of tone colors. This study examines instances of orchestral writing in the piano and makes suggestions for their performance. An overview of Strauss's compositions, from his early chamber music to the `heroic' symphonic works, places the Sona

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41

"Composition portfolio of Li Kit-yiu, Emily." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888413.

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42

"A portfolio of three musical compositions." 1997. http://library.cuhk.edu.hk/record=b5896235.

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by Hui Cheung Wai.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1997.<br>Chapter 1. --- String Quartet No2<br>Chapter a) --- programme notes --- p.I. i -ii<br>Chapter b) --- music score<br>Chapter ´Ø --- 1st movement --- p.1-15<br>Chapter ´Ø --- 2nd movement --- p.16 -25<br>Chapter ´Ø --- 3rd movement --- p.26-51<br>Chapter 2. --- """Disappearance"" for orchestra"<br>Chapter a) --- programme notes --- p.II. i -iv<br>Chapter b) --- music score --- p.1-46<br>Chapter 3. --- """Wu Wu"" (Sorcery Dance) for piano"<br>Chapter a) --- programme notes --- p.III. i -ii<br>Chapter b) --

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Lee, Kang-jung, and 李康榮. "An Interpretation of Igor Stravinsky’s Three Movements from Petrushka from the Perspectives of Drama, Orchestral Sound, and Piano Techniques." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/64017647752688132960.

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博士<br>輔仁大學<br>音樂學系<br>101<br>In 1921, Igor Fyodorovich Stravinsky’s piano work Three Movements from Petrushka, a transcription from the ballet Petrushka composed by himself, is one of the greatest virtuoso piano pieces in the twentieth century. Yet, a clear difference from the traditional ones lies in the variously rich sonorities which are from the orchestral version. Though Stravinsky emphasized this work was essentially a pianistic piece full of difficult piano techniques. The work completely reveals the thought of orchestral sound in musical texture and dimension. Furthermore, the appl

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"A portfolio of music compositions." Thesis, 2014. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1291473.

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"A portfolio of music compositions." Thesis, 2004. http://library.cuhk.edu.hk/record=b6073653.

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Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra.<br>Yang Jin Fong.<br>"June 2004."<br>Thesis (D.Mus.)--Chinese University of Hong Kong, 2004.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Abstracts in English and Chinese.

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"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Vo

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"Conversation, Dark haze, San-shui Xi-nan." 1998. http://library.cuhk.edu.hk/record=b5896306.

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by Ho Tsz-Yan, Rebecca.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Chapter Part I: --- p.page<br>Chapter ´Ø --- Abstract --- p.1<br>Chapter Part II:<br>Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3<br>Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6<br>Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25<br>Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28<br>Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65<br>Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69<br>Chapter Part III：<br>Chapter ´Ø --- Biogr

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Johnson, Julie. "A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.

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Grant, Quentin Stuart David. "Portfolio of original compositions." Thesis, 2008. http://hdl.handle.net/2440/51095.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the ma

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Grant, Quentin Stuart David. "Portfolio of original compositions." 2008. http://hdl.handle.net/2440/51095.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main

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