Thèses : « Oboe with instrumental ensemble »

1

Hodges, Glen J. (Glen John). « "Eyre," a Three Movement Instrumental Work for Small Chamber Ensemble ». Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503921/.

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"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.

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2

Schulze, Lukas Andreas Schulze Lukas Andreas. « Sluggo ; and Elwaseem / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236633.

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Thesis (Ph. D.--Music)--University of California, San Diego, 2006.
First work for 2 flutes, 2 clarinets, violoncello, and piano; 2nd for oboe and violin solo with 2 trumpets, horn, trombone, crotales, vibraphone, and percussion. Vita. With sound recording (1 sound disc : digital ; 4 3/4 in.) containing thesis works.

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3

吳俊凱 et Chun Hoi Daniel Ng. « Original compositions for young musicians ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.

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4

Murray, Lauren Baker. « The Nineteenth Century Oboe Concertino : An Overview of its Structure with Two Performance Guides ». Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/murray%5Flauren%5Fbaker/index.htm.

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5

Normand, Daniel. « Grâce à trois, Revue de presse : 9 septembre 1996 ; Transformations vernales : oeuvres musicales ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33726.pdf.

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6

Rook, Michael. « Mosaik : für Ensemble / ». Thesis, Connect to this title online ; UW restricted, 2003. http://hdl.handle.net/1773/11282.

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Thesis (D. Mus. Arts)--University of Washington, 2003.
For flute (piccolo), alto flute (bass flute), 2 clarinets, French horn, trumpet, 2 percussionists (desk, rubber stamp, stamp pad, oil barrel, large piece of sheet metal, tam-tam, cymbal, sizzle cymbal, thunder sheet, metal beam (piece of railroad track), amplified accordion, 2 pianos, electric guitar (fretless), violin, violoncello. Vita. Duration: 10 min., 20 sec.

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7

Ng, King-pan, et 伍敬彬. « Composing for chinese instrumental ensemble : a practitioner's perspective ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/197560.

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This thesis aims to offer a practitioner’s perspective of composition for the Chinese instrumental ensemble of the twenty-first century. Chinese instrumental music composition has appeared in the concert hall in China since the beginning of the twentieth century. Modeled on western classical music, modern Chinese instrumental music has undergone a series of development and reformation that aimed to merge the Chinese and western musical ideas and techniques. The very role of the composer and the notion of concert-hall practice were being emphasized, whereas various ingrained characters of traditional instruments, such as music-making conventions, instrumentation preferences, and certain ideology behind timbre, were overshadowed. Also attributed to such nature of Chinese instrumental music is that composers and performers are often in a quandary when juggling Chinese instrumental music conventions with a mindset framed by western classical music. Furthermore, in the current globalized/globalizing culture, Chinese instrumental composition is propelled by manifold musical influences. I intend to share the insight and to document the first-hand information acquired through the composition processes from a composer’s perspective. My sharing and documentation focus on the issues of incorporating idiomatic music materials from various Chinese instruments into original compositions, as well as on several matters concerning rehearsals and performances. Including six chapters, this thesis anthologizes six original works and discusses the composition strategies relevant to the distinctive instrumental combination of each. Chapter 1 presents an adaptation of a western symphonic poem for modern Chinese orchestra. Chapters 2 and 3 illustrate respectively a composition for a large Chinese wind and percussion ensemble and a composition for a large plucked-string ensemble. Chapters 4 and 5 cover two pieces of contrasting instrumentation, namely a mixed ensemble of fourteen instruments and a huqin sextet. Chapter 6 is about a multimedia composition with electronic soundtrack and installation art for seven players.
published_or_final_version
Music
Doctoral
Doctor of Philosophy

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Jones, Lloyd Edward Walls Kimberly C. « Instrumental jazz ensemble programs in Alabama high schools ». Auburn, Ala., 2009. http://hdl.handle.net/10415/2023.

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9

Quilling, Michael Lance. « Applying rhythm teaching methods in an instrumental ensemble ». Kansas State University, 2017. http://hdl.handle.net/2097/38162.

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Master of Music
School of Music, Theatre, and Dance
Frederick Burrack
Finding a systematic process for teaching rhythms in the instrumental setting has presented its own set of challenges. Numerous factors such as time constraints, engagement, motivation, and various degrees of proficiency amongst the students can all play a part in the overall success of the group. This video presentation includes a teaching demonstration utilizing techniques acquired from MU680-A (Advanced Rehearsal Techniques). Using rhythm readiness sheets modeled by Dr. Jay Gilbert and specific rehearsal techniques taught by Dr. Frank Tracz, this presentation exhibits a process for teaching rhythms that increases retention of rhythmic patterns in a way that enables all students to engage in the learning process simultaneously. The lesson plan is explained in detail and the routine was repeated daily and eventually implemented into the twelve-minute warmup portion of the rehearsal. After three weeks the students were recorded and asked to reflect on their progression. A noticeable change was observed after the lesson was completed and applied to the piece. In addition, the method also revealed several hidden learning outcomes, such as facilitating independence as musicians, utilizing listening skills to distinguish how various patterns fit within an established pulse, and increasing student motivation by creating positive rehearsals with attainable goals. The result was a performance showcasing the growth of the ensemble’s overall musicianship. The rhythm readiness sheet and concept that was utilized in the teaching demonstration is credited to Dr. Jay Gilbert. The rhythm readiness sheet is not copyrighted or published, however expressed written consent was granted by Dr. Gilbert and can be found in the Appendix.

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10

Simonson, Eric. « E/F : a concerto for MIDI acoustic piano, concertino group, live electronics, electro-acoustic tape, and chamber orchestra (live or pre-recorded) / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935486.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and technical details: p. v-viii.

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11

Moss, Bruce Burbank. « Differential approaches to rehearsing and conducting an instrumental ensemble ». Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225994055.

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Levine, Josh Levine Josh Levine Josh Levine Josh. « Between image, process, and memory / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049670.

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13

Lizée, Nicole. « RPM : for large ensemble and solo turntablist ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32896.

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The focal point of the work is the turntable and DJ (or Disk Jockey; one who controls the turntables). This concept not only manifests itself through the utilization of actual turntables, but also much of the acoustic material performed by the ensemble consists of "metaphoric turntables". These are contrasting layers of sound superposed over one another that are played by small groups of specific instruments within the larger ensemble. These instrumental groups simulate the sonorities generated through turntable manipulation such as warping, oscillations, crossfading, transforming, and numerous scratching techniques. The DJ (sometimes referred to as a turntablist) employs many techniques, articulations, and effects that are notated and explained in the accompanying analysis.

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14

Talpash, Andriy. « "Queezinart---hocket in a blender" for chamber ensemble (Original composition) ». Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29954.

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Queezinart---hocket in a blender is a composition for five woodwinds, five brass, percussion (two players), piano, two violins, viola, cello and double bass, with a duration of approximately 14 minutes. There are six main sections in this piece. The work is structured so that musical ideas flow smoothly and gradually between sections. Also, the musical events are organized in such a way that the perceived, experienced time is manipulated and distorted, through varying activity and density of musical events.

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15

Theodore, Michael. « Nam-shub : (for two percussion solists, ensemble, and tape) / ». 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?p9906484.

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Thesis (Ph. D.--Music)--University of California, San Diego, 1998.
Vita. For 2 percussion soloists, 4 auxiliary percussionists, 3 bass clarinets, 3 trombones (2 tenor, 1 bass), tuba, and digital audio tape.

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16

Zajicek, Daniel J. « A rhetorical guide to Ebb ». connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/zajicek%5Fdaniel/index.htm.

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Thesis (M.M.)--University of North Texas, 2006.
For flute, oboe, clarinet, contrabassoon, horn , tuba, percussion (2 players), 2 violins, viola, cello, double bass, 1 laptop computer, and 2 or more loudspeakers. System requirements: Adobe Acrobat Reader. Duration: 10:00. Includes performance notes by the composer (p. 1-23). Includes bibliographical references (p. 23-24).

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17

Newsome, Padma. « Portfolio of works / ». Title page and contents only, 1999. http://web4.library.adelaide.edu.au/theses/09MUM/09mumn558.pdf.

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18

Gilbert, Nicolas 1979. « L'entreprise de séduction ». Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115658.

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This dissertation consists of two parts. The first and main part is the score of L 'entreprise de seduction, a 22-minute work for solo cello and instrumental ensemble [1011, 1010, percussion (1 player), piano, 2111], along with a recording on compact disc. The second part is an accompanying analytical text about the work. In the text, after a short description of the project, of its objectives and original contribution, we discuss the theoretical basis of my compositional approach. This approach stands on the fundamental structural independence of poiesis and esthesis, and leads to a musical aesthetics favouring formal transparency and seeking an active listening attitude. Two sets of compositional techniques are then introduced: techniques using the 12-tone row and techniques based on chance operations. We observe that those techniques all endeavour to balance systematicism and intuition to the greater profit of musical expression. We then proceed to a detailed analysis of L 'entreprise de seduction revealing its main musical material and processes. The text concludes with a few overall comments and by a discussion of the possible impact of this composition on my future projects.

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19

Elezovic, Ivan. « Echoes : [for] tenor, chamber ensemble & ; computer ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33369.

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Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?
As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.

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20

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, nor entirely orderly.

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21

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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22

Dertinger, Noreen. « Instrumental ensemble settings of In Nomines composed in England (1550-1650) ». Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7895.

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In Nomine is the Latin title given to English compositions of the sixteenth and seventeenth centuries having the Sarum antiphon Gloria tibi Trinitas as their cantus firmus. Many composers, from Taverner to Purcell, composed at least one work based on this cantus firmus. The transition from a primarily vocal style to one for instrumental performance is evident. This study deals with a selected part of the In Nomine complex using methods developed in the scholarship of the L'homme Arme pieces. The purpose of this project is to compile, in one place, an in-depth study of the history of this genre, a description and listing of the sources, and an analysis of selected In Nomines. It is hoped that this will contribute to the understanding of a genre that played an important role in the development of the techniques employed in instrumental ensemble music. (Abstract shortened by UMI.)

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23

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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24

Munger-MacKay, Ailene Annette. « Certain oboe techniques and ensemble pedagogy in selected woodwind chamber music of Heitor Villa-Lobos ». The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248714649.

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25

Linhart, Melodie E. « Synaesthetics : for violoncello & ; octet / ». Thesis, Connect to this title online ; UW restricted, 2006. http://hdl.handle.net/1773/11306.

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Thesis (Ph. D.)--University of Washington, 2006.
For solo violoncello and octet comprised of piccolo, English horn, clarinet in E♭, contrabassoon, horn in F, tuba, xylophone, and contrbass. Vita. Includes bibliographical references (p. 147).

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26

Griswold, Erik. « In between states / ». 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?p9804528.

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Thesis (Ph. D.--Music)--University of California, San Diego, 1997.
Vita. For percussion solo with 2 flutes, 2 clarinets, trumpet, 2 trombones, 2 violins, viola, violoncello, double bass, and jazz rhythm section (piano, double bass, and drums). Videotape is sound only in Beta format.

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27

Svoboda, Andrew. « Martin Streda : a monodrama for baritone and ensemble ». Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81258.

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Martin Streda is a one-act monodrama for baritone and an ensemble of eight instrumentalists. The libretto was written by the composer. The drama concerns Martin Streda, a Czech political prisoner in a solitary confinement cell of a communist concentration camp on the eve of his death. The opera has a duration of approximately 30 minutes and is divided into four main parts. The analytical essay describes the development and operation of Mar-sys, a collection of twenty pitch aggregates derived from intervalic cells, rhythmic cells drawn from the Morse code alphabet, and other pitch organization systems.

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28

Yang, Yu-Lin 1974. « Three scenes in dreamland : (1999-2000) : for mixed choir and instrumental ensemble ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33371.

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Three Scenes in Dreamland is a 17-minute piece for mixed choir and instrumental ensemble. It consists of three movements: "Crystal Sky," "The Chanting Light" and "The Field Where I Was Born, Where I Died." Each movement uses a particular combination of the available instruments. The work is inspired by various aspects of Chinese culture and Buddhism, and certain possibilities of combining Western and non-Western musical elements are explored over the course of the three movements.

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Eriksson, Jesper. « My Improvisation Practice : the act of improvising in individual instrumental practice, collaboration projects and performance ». Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1654.

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In this study I research and reflect on the way I have been practicing with my saxophone, how I have been collaborating with others and how I’ve worked with performance during my two master years, with a focus on improvisation. The study is a presentation of my Professional Integration Project on NAIP-European Master of Music-program. I have had many different projects that will be presented. By playing, listening, and analyzing free improvisation I wanted to learn more about myself as a musician and about improvisation in general. I am also going to present individual exercises for improvisation I’ve been using, as well as exercises for group improvisation. I am going to present time-lines of events to see how one thing leads to another. I will present the product of a piece with improvised aspects, that led me and my collaborators to find our own ways of rehearsing. By summarizing the many aspects, I present my findings by describing what I want to learn, and how I want to learn it, and how I’ve been working with free improvisation groups and music collaboration, and what is important for me while performing improvisations. The findings of my studies suggest that I have developed my improvisational skills by playing free improvisation and doing exercises. My projects has also shown that you can combine written music with improvisational aspects in a classical setting by using different ways of rehearsing. Lastly, I found that it is important that, while improvising, musicians have a total mental presence to avoid energy loss in the music.

Självständiga arbete, Master, 40 hp.

Program examenskonsert:

ImprovisationKvintett

Jesper Eriksson saxofon, Linnea Andreassen röst, Maiju Kopra röst, Viktor Rydén röst, Amanda Larsson röst.

Jesper ErikssonKvartett (2014), uruppförande

Alexander Rydberg violin, Jesper Eriksson saxofon, Emma Augustsson cello, Anton Svanberg tuba.

ImprovisationTrio

Jesper Eriksson saxofon, Jaan Krivel röst och klarinett, Kristoffer Linder slagverk

Extranummer: Friimprovisationsorkester

Jesper Eriksson saxofon, Alexander Rydberg violin, Emma Augustsson cello, Anton Svanberg tuba, Linnea Andreassen röst, Maiju Kopra röst, Viktor Rydén röst, Amanda Larsson röst, Jaan Krivel röst och klarinett, Kristoffer Linder slagverk, Bernhard Greter piano.

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Brock, Nathan Brock Nathan Brock Nathan Brock Nathan. « Two scenes from Beowulf ; and, selections from the Tesserae/Tesseract cycle / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3282869.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Selections from a cantata for TBarB soloists, large chorus, chamber orchestra, and percussion ensemble, and three pieces from a projected cycle for soprano, flute, and string trio. Words to Beowulf adapted by the composer from Seamus Heaney's translation; also printed as text preceding score on p. 6-30. Words to Tesserae/Tesseract use poem by the composer, both as text and as the source of additional phonemes used by the singer. Vita. Accompanying disc is recorded DVD-R and contains complete text of dissertation, all scores, and master-quality and CD-quality audio tracks.

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31

Thomalla, Hans. « Fremd, Medea, strange : opera-scene for soprano, choir, instrumental ensemble and live electronics / ». May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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32

Thompson, Shirley J. « Towards a new aesthetic in contemporary instrumental ensemble, vocal and chamber opera composition ». Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/13862.

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This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Queen Nanny of the Maroons. Issues of composition technique, vocal expression and operatic narrative are examined and in addition the three named works explore notions of post-colonial heroic representation of subjects that might not usually attract ideological recognition in Western European art music contexts. Methods for developing inclusive, post-modern musical language for the mixed instrumental and vocal ensemble are explored; including the employment of spoken word expression and the integration of popular music idioms within contemporary Western European art music contexts. In the writing of lyrics for the songs and libretto for the opera, increased responsibility is assumed in the completion of vocal works in addition to musical consideration to find the effects on the works when the roles of composer and writer are combined. With the opera in one act for solo voice, forming the major contribution to the portfolio, critical components that lead to effective music drama are assessed.

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Cobb, Brian A. « Campfire songs / ». Thesis, Connect to this title online ; UW restricted, 2006. http://hdl.handle.net/1773/11271.

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Thesis (D. Mus. Arts)--University of Washington, 2006.
For mezzo, baritone, flute, clarinet, bass clarinet, guitar, banjo, violin, cello and 2 percussionists. Texts by Walt Whitman, Hamlin Garland, David Wagoner, Mary Austin, and John Haines. Vita. Includes bibliographical references (leaf 156).

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Johansen, Ben McAllister Scott. « !MPACT ». Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5178.

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Schlomowitz, Matthew. « False relation : for solo trombone, solo guitar, ensemble and CD / ». May be available electronically:, 2003. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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D.M.A. final project--Department of Music, Stanford University, May 2003.
For solo trombone, solo guitar, flute, clarinet, percussion, viola, cello, double bass, and CD. Duration: 21:00. Includes performance instructions.

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36

Clifton, Jeremy J. « The four horsemen : an original composition for choir and mixed ensemble ». CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1466724.

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The Four Horsemen is an original composition in three movements that sets the texts of the Greetings and Doxology, the story of the four horsemen, and the River of Life from the Book of Revelation as found in the New International Version of the Bible. The text, which is presented in English, is set for a large SATB choir and narrator with a mixed ensemble, which consists of flute, clarinet, horn, trumpet, piano, organ, and cello. This fifteen-minute composition makes extensive use of pitch and numerical symbolism by way of a twelve-tone row. Although the piece uses a row, it contains elements of tonality and is globally organized around a tonal center. The piece uses several extended vocal and instrumental techniques to heighten the dramatic character of the apocalypse story. The accompanying document provides historical context for the piece and a discussion of the musical elements and compositional processes used in the work. The symbolic nature of the text, as well as a detailed account of the story of the four horsemen, is also included in this document. The review of repertoire considers a selection of recent works that set portions of the text, as well as compositions inspired by Revelation. The methodology chapter explains the construction, use, and symbolic elements of the row as well as the inclusion and setting of well-known motives like the Dies Irae and the chromatic-fourth lament bass. An analysis of each movement includes discussion of the use of pitch and rhythmic material, texture, setting of the text, and other musical elements that contribute to and/or enhance the symbology of the work. The first movement establishes C as the tonal center, introduces the row and other important motives, and sets the mood for the piece. The second movement, which includes two ostinato figures (a figure based on the reordered version of the row and the lament bass), makes extensive use of syncopation and hemiola throughout the multi-metric environment. The final movement sees the return of motives from the first movement; it employs the row’s retrograde and concludes with a plagal cadence.
School of Music

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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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Weirmeir, Jude Thomas. « Aspic trails : [for soprano, flute, and 'cello : 2004-06 : opus -1] / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236632.

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Nakano, Koji. « Time song II : howling through time : for female singer, flutist, and percussionist / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236635.

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Walls, Jay Alan. « Autographs 1928 : Four Songs for Soprano and Chamber Ensemble ». Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279054/.

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Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.

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May, Andrew Emerson Ralph Waldo. « Vanishing : a composition for ensemble and computer / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9984809.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. For flute (piccolo), piano, percussion (1 performer), 2 violas, 2 violoncellos, and computer. Includes technical notes and instructions for performance preceding score.

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Monroe, Deborah Jean. « Prayers of adoration, confession, thanksgiving and supplication a composition for soprano and chamber ensemble / ». connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/monroe%5Fdeborah%5Fjean/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.
For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).

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Adams, Sebastian Phillip. « Teacher-Student Rapport in the Secondary Instrumental Music Ensemble| Educational Psychology and Teacher Disposition Standards ». Thesis, Colorado State University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10812416.

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Critical topics of teaching music continue to undergo philosophical evolution as unique concepts and perspectives are introduced by a variety of experts both in and out of the field. One concern among many is the role of the secondary music educator in the ideal classroom for student learning, part of which is impacted by teacher-student rapport. Teacher-student rapport is defined in this paper by the author as an adaptation of the general definition of rapport by Carey et al. (1986a): the quality of relationship between teacher and student that is characterized by communication and mutual, emotional understanding. The following questions were explored through content analysis of an education practitioner journal as well as literary analysis: how are teacher-student rapport-building strategies informed by the behaviorist, cognitivist, constructivist, and humanist schools of psychology; how can the information garnered from a literary analysis guide the transformation of teacher disposition policy; what are best practice techniques for teachers to build rapport in the secondary instrumental ensemble as implied by the data? It is with the data and discussion of this study that the author hopes to support teachers’ positive rapport-building efforts with students in the secondary instrumental classroom through the avenues of immediate classroom application, and policy transformation.

Data reveals that articles in the Journal of Educational Psychology examining positive rapport-building elements most comprehensively cite principles of the constructivist school, and the top three cited psychologists are Albert Bandura, Abraham Maslow, and Jean Piaget. Recommendations for teacher disposition policy transformation are suggested to help preservice teachers cultivate positive rapport-building practice, and they include standards for promoting socio-cultural investment, positive expression, student discourse recognition, reflective practice, empathy, and effective communication. Examples of potential applications in the secondary instrumental music classroom include, but are not limited to, engaging in students’ referential (Reimer, 2010) connections to rehearsed repertoire and permitting exploration of expressive interpretation of said connections; consistently raising standards of musicianship and community in response to achievement through promotion of reflective processes and demonstrations of exemplary performance; recognizing and utilizing students’ abilities to think critically and abstractly about the expression and artistic merit of class repertoire. Other implications of best practice are refined from Bandura’s (1986) self-efficacy, Maslow’s (1943 & 1971) hierarchy of needs, and Piaget’s (1952) schema and genetic epistemology theories. Finally, potential operations in chamber music are presented in relation to constructivist principles.

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Silva, Névio Emanuel Madureira Teixeira da. « De ouvido para ouvidos : uma experiência extracurricular instrumental em contexto de grupo : Ensemble pop/jazz ». Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/17360.

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Mestrado em Ensino de Música
“Tocar de ouvido” é uma expressão da gíria popular e académica cujo significado parece traduzir, para além de práticas e costumes, crenças, sentimentos e convicções em torno de modos ou qualidades de saber ouvir e fazer música sem necessário apelo à leitura. O Ensemble pop/jazz é um projeto educativo e artístico desenvolvido com alunos de instrumento do 1º até ao 8º graus da Escola das Artes do Marco de Canaveses - Artâmega. Tendo-se inspirado em alguns dos significados supra referidos, teve como grande finalidade promover o contacto dos instrumentistas com experiências relacionadas com aquele tipo de conhecimento e prática performativa. Neste documento pretendo relatar o processo de trabalho desenvolvido no Ensemble pop/jazz, descrevendo sobre o processo metodológico e didático implementado, bem como refletir sobre alguns pressupostos teóricos desenvolvidos em torno do significado educativo que comporta o “tocar de ouvido”, essa tão fecunda expressão. Experimentar uma abordagem desta natureza no sentido de procurar um rumo metodológico e estratégico no futuro, detetando “mais-valias” conquistadas bem como aspetos menos conseguidos, constitui, na sequência da pesquisa elaborada e ao lado da intenção de proporcionar aos meus alunos uma vivência performativa artisticamente significativa, o grande propósito do projeto.
"Playing by ear" is a popular and academical expression, which meaning seems to translate, beyond old behaviors, beliefs, feelings and convictions around ways or qualities about listening and reproduce music without notation. The Ensemble Pop/jazz is an educational and artistic project developed with instrument students from the first to the eighth degree of studies in Artâmega school. It was inspired by the meanings of the expression listed above, and its major purpose is to allow the students to have the experience to work with this learning style and also have performative opportunities. In this document I depict the methodological and didactical process implemented in Ensemble Pop/jazz, while debating about some theoretical assumptions created around the meaning of "playing by ear". Experiencing an approach of this nature in the direction of seeking a methodological and strategic course in the future, detecting gains obtained as well as less achieved aspects, constitutes, following the present research, the great purpose of the project.

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Norris, Thomas B. « In the Midst of Spoils : A Composition for Mixed Chorus (SATB) and Small Instrumental Ensemble ». Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935835/.

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In the Midst of Spoils is a setting, for SATB choir and small instrumental ensemble, of the poem "Blight," by Ralph Waldo Emerson. Emerson's poem contrasts modern man's exploitative attitude toward nature with the more reverent attitude assumed by ancient or primitive cultures. This setting is in a single movement, approximately twenty minutes in duration, consisting of fifteen distinct sections.

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Price, Lee Scott. « SONGS OF THE NIGHT SKY : THREE POEMS OF QUENTIN SMITH ». Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1124225909.

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Burkhardt, Rick. « Pipeline : for voice, bass flute, cello, and percussion / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

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Garcia-Castells, Federico Jose Chen Yi. « Pervigilivm [i.e. Pervigilium] veneris for mixed choir, piano and percussion quartet / ». Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A thesis in music composition." Typescript. Advisor: Chen Yi. Includes vita and English translation of text. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.

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Woodward, Nathan Paul L'Engle Madeleine Rudy Paul. « Out of the shadows ». Diss., UMK access, 2006.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
For chorus and wind ensemble. "A thesis in music composition." Madeleine L'Engle, poet ; Paul Rudy, advisor Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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Dong, Kui. « Cess : (after Turandot) : for eight voices, eleven musicians and tape / ». May be available electronically:, 1997. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Thèses sur le sujet « Oboe with instrumental ensemble »

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