Thèses : « Percussion ensembles Music »

1

Craycraft, Jeremy L. « William Russell's Percussion Ensemble Music, 1931-1940 ». University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305820085.

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Tan, Anthony. « --then time killed the wind-- : for percussion quartet and live electronics ». Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116055.

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...then time killed the wind... is an original musical composition scored for percussion quartet and electronics with a duration of fourteen minutes. This work explores metaphorical relationships between biological processes and musical processes. The primary constructive element in the work is a rhythmic language based upon the assignment of rhythmic cells to genetic sequences. Furthermore, biological models such as inverted repeats, zeitgeber, 2-D representations of DNA and cross-breeding were applied to musical parameters such as form, pitch, harmony and live electronics.

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Budón, Osvaldo 1965. « Territorios : for percussion ensemble and digital sounds on tape ». Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23969.

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Territorios is a 15-minute composition for eight percussionists and prerecorded sounds on digital tape. The composer chose this particular instrumentation because of his conviction that percussion and electronic/digital instruments are the most powerful sources of fresh and innovative sound matter that have appeared during this century. This choice also allowed him to challenge the development of a new and consistent rhythmic syntax derived from the internal structure of percussion instruments, which in turn made it possible to establish solid ties between the sound itself and the musical syntax that rules its organization.
Since different tempi are often used simultaneously in Territorios, the performance of the piece requires a set of computer-generated click-tracks carrying individual pulse lines; hearing these pulses through headphones, the performers are able to play the piece in precise tempo.

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4

Broad, Elaine H. « Ee ». Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725081.

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Ee is a single movement composition for eight sopranos (who also play handbells), a percussion ensemble consisting of eight players, and piano. The work is organized into two sections, the first of which presents the basic material and explores the possibilities it suggests. The second represents a disintegration of the material, eventual synthesis, and assertion of the original material. The piece is conceived as a minimalist composition in which the musical energy and momentum is created not through development, but rather through devices of additive layering of ostinato patterns. The piece intentionally juxtaposes a conservative harmonic vocabulary with a non-traditional orchestration (voices, handbells, and percussion).
School of Music

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5

Andreatta, Drew David. « Three Lou Harrison Percussion Ensembles Arranged for A Solo Percussionist ». Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293612.

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This document details the creation of a new type of multiple percussion solo from pre-composed percussion ensembles. The author transcribes three works for percussion ensemble by Lou Harrison (1917-2003): Suite for Percussion, movement I, Bomba and Simfony #13 so that they can be performed as percussion solos. Each composition requires a different type of solo version because of the diverse instruments and musical materials in the original scores. Learning to perform these new versions will expand the technical capabilities of a soloist and offers complex challenges not found in the original ensembles. The document includes complete scores and set-ups for each new solo version and discussion of performance practice and techniques to play each work. Although Harrison’s original works were conceived for amateur players, the solo versions require the skills of a virtuoso performer. The new versions confirm the artistic merit of Harrison’s work in a format both practical and satisfying to the solo percussionist. The project illustrates new methods for further developing percussion technique to enable ensemble works to be performed by soloists. The solo versions of Lou Harrison percussion ensembles presented herein result in new repertoire for the percussion soloist.

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Dalton, Grant Beckett. « Nigel Westlake's Omphalo Centric Lecture guide for performance including a biography of the composer and an examination of the different versions of the work / ». Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155572878.

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Nelly, Thomas F. « I. Research-based rubrics for assessing undergraduate music compositions a validity study. II. Identity crisis : a composition for wind ensemble, percussion, electric organ, and electric bass / ». [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013772.

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Johnson, Allison Adah Johnson Allison Adah Johnson Allison Adah Johnson Allison Adah. « Transmission/translation/transgression / ». 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?p3099912.

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Thesis (Ph. D.)--University of California, San Diego, 2003.
Vita. "Three related compositions written for string quartet, small ensemble (soprano, violin, viola, cello, flute, clarinet, piano) and percussion duo"--P. viii; 3rd work an open form composition. Also available on the World Wide Web. (Access restricted to UC campuses).

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Hall, Alec Hall Alec Hall Alec Hall Alec. « Three pieces ». Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464967.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 11, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

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10

Hall, John Richard. « Development of the percussion ensemble through the contributions of the Latin American composers Amadeo Roldán, José Ardévol, Carlos Chávez, and Alberto Ginastera ». Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211553990.

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Kilgore, Matthew Ryan. « "Homage to Nancarrow" from "Estudios de Frontera for 5 Percussion Players" by Alejandro Viñao : A Rhythmic Analysis and Performance Practice Guide ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609136/.

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The Peabody Conservatory commissioned Estudios De Frontera by Alejandro Viñao in 2004. Percussionist Robert Van Sice initiated the commissioning process. Estudios De Frontera is the first composition for percussion ensemble by Viñao. Viñao's Estudios is written in two movements. The first is titled Homage to Nancarrow. As the title implies the compositional processes are directly influenced by Conlon Nancarrow. The composer states: "Homage to Nancarrow is concerned with the perceptual illusion of multiple simultaneous speeds or tempi....This movement explores the type of rhythms that create the illusion that multiple independent tempi are being heard while remaining playable by musicians." The purpose of this document is to provide a rhythmic analysis describing the techniques used by Chopin, Ligeti, and Nancarrow, and demonstrating their manifestation in the first movement of Alejandro Viñao's Estudios de Frontera. The analysis provides detailed information in regards to Nancarrow's rhythmic structures including: ostinato, hemiola, isorhythm, accelerations, and implied poly-tempo. Additionally, by seeking advice from notable performers and ensembles, the areas of greatest concern are identified, and strategies towards rehearsal and performance are recommended. The performance guide is included as an appendix to the analytic body of the paper.

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12

Bernier, Lucas James. « The percussion ensemble music of Robert Moran ». Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3430.

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Cameron, James Scott. « Trends and developments in percussion ensemble literature, 1976-1992 : an examination of selected works premiered at the Percussive Arts Society International Conventions / ». Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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14

Ahone, Lauri. « Djentophonic Project : A Meeting Point of Classical and Metal Music Through Percussion Ensemble ». Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1941.

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The writer of this master thesis was acquiring an education in classical percussion and deeply respecting the music genre named djent. He was so impressed by metal music that he taught himself how to use the notation programme Sibelius 7 and arranged a number of his favourite songs for the percussion ensemble so he would be able to play them. The following text supports and describes the process. A short analysis of 16 arrangements is included as well.

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15

Forsthoff, Kyle Manning. « CHALLENGES OF TECHNIQUE AND INTERPRETATION IN THE PERCUSSION MUSIC OF FREDRIK ANDERSSON : A PERFORMER’S ANALYSIS ». UKnowledge, 2010. http://uknowledge.uky.edu/gradschool_diss/101.

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In the mid 1990s, Swedish composer Fredrik Andersson composed not everything which happens is in the newspaper (1993), the lonelyness of Santa Claus (1994), and imagine there was nothing (1996). All three pieces share a number of compositional and stylistic elements while emphasizing the capabilities of their respective instrumentations to create mysterious sonic worlds that are unique in the percussion idiom. By examining specific concerns of each piece in detail, an understanding of Andersson’s presentation of musical challenges will result. Acceptable solutions to such challenges will be examined and compared, based primarily on the author’s analysis and experience encompassing multiple performances of each of the three works, along with supplementary information provided by various other sources. The results of this document will be significant within the larger percussion community in that they will serve to increase the visibility of the composer and increase exposure of works for percussion that are not only musically distinctive within the repertoire, but also contain a variety of exciting pedagogical, technical, and interpretive challenges that will contribute to the growth of any percussionist willing to engage them. It is hoped that such engagement will “de-mystify” Andersson’s music and inspire increased performance of his works.

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Broadhurst, James D. « The early drum-melodic music of Michael Colgrass and the evolution of the Colgrass drum ». The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1123272187.

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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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Summerlin, Lane W. « The History and Development of the Front Ensemble in Drum Corps International ». The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461167753.

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19

Arilho, Rodolfo Vilaggio 1979. « Estudo interpretativo da obra "Ensaio-90" para trio de percussão de Mário Ficarelli ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285251.

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Orientador: Fernando Augusto de Almeida Hashimoto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T01:47:50Z (GMT). No. of bitstreams: 1 Arilho_RodolfoVilaggio_M.pdf: 22738314 bytes, checksum: 93559c1969c8f7eece56e6a0d6eb22d8 (MD5) Previous issue date: 2014
Resumo: Este trabalho tem como objetivo a realização de um estudo interpretativo sobre a obra Ensaio-90 de Mário Ficarelli, composta para trio de percussão em 1990. Esse estudo não se prende somente na análise dos elementos composicionais da obra, mas sim utiliza a análise como ferramenta para discutir as possíveis decisões interpretativas, as escolhas do componente aleatório do material timbrístico como fator determinante do resultado final da obra, bem como a interação entre percussionistas quando em atuação em um grupo de percussão e sugestões para solução de possíveis problemas técnicos contidos na obra
Abstract: This work has a main goal to perform an interpretative study on the work Ensaio-90 by Mário Ficarelli, composed for three percussionists in 1990. This study is based not only in the analysis of the musical elements of the work, but rather utilizes the musical analysis as a tool to discuss the possible interpretative decisions, the, the choices on the random component of the timbre as an important factor for the final output of the work, as well the interaction among the acting percussionists playing as a group, and the suggestions to solve the technical issues through the work
Mestrado
Praticas Interpretativas
Mestre em Música

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White, Marc M. « Percussion scoring and orchestration in the wind and percussion ensemble literature of Jared Spears and David Gillingham ». Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/white%5Fmarc%5Fm/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Accompanied by recitals, recorded Nov. 14, 1994, Nov. 20, 1995 and Nov. 23, 1999. Includes bibliographical references (p. 115-117) and discography (p. 118-119).

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21

Thomas, Paul David. « The Fallow Ground : A Composition for Pierrot Ensemble with Percussion and Male Voice ». Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68054/.

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The inspiration for The Fallow Ground is the time period of the Second Great Awakening (1790-1840s) and, in particular, the life and impact of one of the period's central figures: Charles Grandison Finney. Finney was a lawyer-turned-evangelist whose preaching style led to explosive and emotional conversions and helped spread the fire of revival throughout the state of New York and eventually throughout the country. In The Fallow Ground I have taken different events from Finney's life and the revivalist culture to create musical analogs that examine and critique the events within a twenty-first century musical aesthetic. Quotation and allusion of revival period hymns play a significant part in The Fallow Ground. Inspired by the works of Ives, Crumb, Ligeti, and Schnittke, quotation is used in this piece to develop or subvert the material, thus creating different contextual meanings from familiar material. In this way, the quotation not only alludes to an idea outside of the piece, but also casts a critical view of that idea by its placement in the context of the piece. Concerning the instrumentation, The Fallow Ground is written for what is commonly called the Pierrot ensemble (flute, clarinet, violin, cello, piano, and percussion) with male soloist. In my piece, the soprano has been replaced by a baritone soloist. The piece, approximately thirty minutes in length, has a chiastic five-movement structure with each of the movements depicting certain events or concepts that were prevalent during the time of Charles Finney and the Second Great Awakening.

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Butler, Christopher L. « UNDERSTANDING THE PERCUSSION WORKS OF ALEJANDRO VIÑAO : AN ANALYSIS AND PERFORMER’S GUIDE OF WATER FOR PERCUSSION ENSEMBLE ». UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/58.

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The music of Alejandro Viñao is driven primarily by rhythm rather than traditional classical music components such as melody, harmony, and formal structures. As such, this focus on rhythm showcases the innovation of multiple time, defined as the musical simulation of various meters and tempi. Pioneered by Conlon Nancarrow, this rhythmic innovation is identified within Water (2013). The purpose of this dissertation is to provide insight and analysis of the specific musical characteristics of Viñao’s compositional style. These characteristics include the use of rhythmic grooves, attractors, echo effect, tenuto markings, Euclidean rhythms, and water imagery. Once this analysis has been completed, this dissertation then highlights the necessary practicalities of performance by discussing aspects such as conducting, rehearsal preparation, setup configuration, mallet considerations, and the technical aspects of performing bongos and congas.

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Fulton, Stephen L. « Hearing History : Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music ». Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2250/.

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Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.

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Hughes, Russell M. 1954. « Contours ». Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278234/.

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Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.

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Blodgett, Jedediah Alan. « Percussion Education in Secondary Public Schools : A Pilot Study Comparing the Concert Band vs. the Percussion Ensemble Approach ». BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5473.

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The purpose of this pilot study was to examine the benefit of offering a percussion ensemble class in secondary public schools. I looked at two elements of music education: playing time and relevant instruction. The research questions focused on the difference in playing time and relevant instruction between percussionists in the concert band and percussionists in the percussion ensemble, as well as differences between the concert band subgroups (brass, woodwind, percussion). 6 separate instrumental groups were observed: 4 concert bands and 2 percussion ensembles (N=6). Students were randomly selected from each instrument subgroup (brass, woodwind, percussion, percussion ensemble) for observation. A mixed model ANOVA was used to compare the playing time per hour of each instrument subgroup. A second mixed model ANOVA was used to compare the relevant instruction received per hour of each instrument subgroup. As anticipated, the concert band percussionists experienced significantly less playing time and relevant instruction than both the brass and woodwind subgroups. The percussion ensemble subgroup did not experience a significant difference in either playing time or relevant instruction from the concert band percussionstudents. However, informal observations of the rehearsals indicated a difference in the scope and depth of the playing time and instruction experienced by these two subgroups. Implications from these observations are also discussed.

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

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

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Nozny, Brian T. « CHRISTOPHER ROUSE : AN EXPLORATION OF THREE PERCUSSION STANDARDS ». UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/5.

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The percussion ensemble is still a relatively young ensemble, with the first works by Edgard Varèse and Amadeo Roldan composed in the first third of the 20th century. Because of this youth, it is important to examine significant works for the percussion ensemble which establish themselves as staples to the repertoire. Christopher Rouse, a Pulitzer-Prize winning composer has written three such works, Ogoun Badagris (1976), Ku-Ka-Ilimoku (1978), and Bonham (1989). This study will closely examine each of these works, providing background, detailed analysis, and performance practice for each of these works.

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Piedra, Olman E. « Creative Musical Improvisation in the Development and Formation of NEXUS Percussion Ensemble ». Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1387545761.

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Kernan, Thomas J. « The Percussion Group Cincinnati : A History of Collaboration between Ensemble and Composer ». University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918212.

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George, Matthew. « An examination of performance aspects of two major works for percussion ensemble : Toccata by Carlos Chávez and Cantata para América mágica by Alberto Ginastera, a lecture recital, together with four recitals of selected works of I. Stravinsky, R. Vaughan Williams, W.A. Mozart, V. Persichetti, and P. Hindemith ». Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332759/.

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This study addresses the ways and means a conductor may approach two major twentieth century works written specifically for percussion ensemble. Performance techniques and decisions on aesthetics made by the conductor in dealing with such items as timbre, balance, pitch levels, and pitch relationships are also considered.

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Chapman, Davis Howard. « Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble ». Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.

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Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.

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Williams, Chace Tylor. « Delphinium ». Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604065986419631.

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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 various excerpts from each work concluded the lecture/recital.

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Emge, Jeffrey David. « THIRD-STREAM MUSIC FOR BAND : AN EXAMINATION OF JAZZ INFLUENCES IN FIVE SELECTED COMPOSITIONS FOR WINDS AND PERCUSSION ». University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin976028548.

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Damann, Benjamin A. « herbstlied ». Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615589042543498.

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

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

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Summerlin, Ashley Nicole. « A Repertoire Guide Including Annotations of High School Level Keyboard Percussion Works for Four Mallets ». The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555496091962409.

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Blanchard, Scott. « Subjectivities ». Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143484643.

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Thesis (M.M.)--Bowling Green State University, 2006.
For B♭ clarinet, alto saxophone, violin, violoncello, percussion (vibraphone, timpani) and piano. Document formatted into pages; contains 1 score (26 p.) Duration: ca. 13 min. Includes bibliographical references.

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Deason, William David. « Part I. A taxonomic paradigm from Boethius' De divisione applied to the eight modes of music : Part II. Arioso and toccata for euphonium solo, wind ensemble, harp, and percussion / ». The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487779439847528.

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Puckett, James L. « Part I : Concerto for Percussion Quartet and Wind EnsemblePart II : The Compositional Technique of Joseph Schwantner as presented in LUMINOSITY "Concerto for Wind Orchestra" ». Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1554805885529634.

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41

Hall, John Richard. « Development of the Percussion Ensemble Through the Contributions of the Latin American Composers Amadeo Roldán, José Ardévol, Carlos Chávez, and Alberto Ginastera ». The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211553990.

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Gutierrez, Jason. « The Prayer of Daniel : for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus ». Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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Purcell, Teresa C. « An examination of contemporary works for the wind, percussion, and brass ensemble : “Motown metal” by Michael Daugherty, “Antiphonies” by Stanley Leonard, and “After the thunderer” by Ira Hearshen ». Kansas State University, 2011. http://hdl.handle.net/2097/8758.

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Master of Music
Department of Music
Frank C. Tracz
This document is written in support of a conducting recital given in partial fulfillment of the Master’s of Music Education with an Emphasis in Instrumental Conducting at Kansas State University. It encompasses the historical research, theoretical analysis, and rehearsal recommendations and considerations necessary to prepare the selected works for performance. The pieces analyzed are Michael Daugherty’s Motown Metal, Stanley Leonard’s Antiphonies, and Ira Hearshen’s second movement, “after the Thunderer” from Symphony on Themes of John Philip Sousa. I seek to highlight the significance of these works to the literature of their mediums, and show how they are valuable pieces of literature in the contemporary repertoire. In addition, I offer my philosophies on music learning and literature selection as a means to better understand the process entailed in laying the groundwork for successful authentic learning experiences for conductor and students.

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Pitman, Dennis. « Life Above the Permafrost ». Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1272739943.

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Smith, Gavin W. « An examination of major works for wind band and percussion ensemble : Spring wind -- weather movement I and Storm warning and dance -- Weather movement II by Steve Riley, Prelude op. 34, no. 14 by Dmitri Shostakovich and Tempered steel by Charles R. Young ». Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/299.

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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. « Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores / ». Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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Johnson, Christopher Scott. « An examination of major works for wind band, brass ensemble, and chamber winds : “Three songs from Sussex” by Hugh M. Stuart, “Fanfare for brass and percussion” by Karel Husa, and “Serenade no. 10 in B flat” by Wolfgang Amadeus Mozart ». Kansas State University, 2015. http://hdl.handle.net/2097/19076.

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Master of Music
Department of Music, Theatre, and Dance
Frank C. Tracz
This report provides a comprehensive research and teaching guide for three works for wind ensemble, brass ensemble, and chamber winds: Three Songs from Sussex by Hugh M. Stuart, Fanfare for Brass and Percussion by Karel Husa, and Serenade No. 10 in Bb, Largo, Allegro molto by Wolfgang Amadeus Mozart. Each chapter provides information on the composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, form and structure, other listening suggestions, and seating arrangement considerations. Also included are the lesson plan outlines that were used to teach each work, and a detailed score analysis grid. The report documents the full process of selecting, researching, rehearsing, and performing the selected literature with the hope that it will aid in future performances of the works.

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Baker, Don Russell. « The percussion ensemble music of Lou Harrison, 1939-1942 ». 1985. http://catalog.hathitrust.org/api/volumes/oclc/13868735.html.

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« A portfolio of music compositions ». 2005. http://library.cuhk.edu.hk/record=b5892650.

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Remembrance -- Suite -- Symphonic prelude.
Ng Wah-hei.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2005.
Abstracts in English and Chinese.
Abstract --- p.i
Table of Contents --- p.ii
Acknowledgements --- p.iii
Chapter 1. --- Remembrance for Orchestra --- p.1
Chapter 2. --- "Suite for Flute, Clarinet, Cello, and Percussion" --- p.58
Chapter 3. --- Symphonic Prelude for Orchestra --- p.100

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« A portfolio of music compositions ». 2009. http://library.cuhk.edu.hk/record=b5896608.

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《紙・驚》與《鼓・箏》 : 褐紫紅色 : 自《彩露》 : 為京腔女中音、中國大鼓和古箏而寫的雙樂章作品 = "Paper. Jolt" and "Gu. Zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-Zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu Zheng, and Percussion (suspended cymbal and vibraphone) = 青瓷色: 自《彩露》: 為降B單簧管, 古箏與敲擊(弔鈸及鋼片琴)而寫 -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet.
"Zhi, jing" yu "Gu, zheng" : he zi hong se : zi "Cai lu" : wei jing qiang nü zhong yin, Zhongguo da gu he gu zheng er xie de shuang yue zhang zuo pin = "Paper, Jolt" and "Gu, zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu zheng, and Percussion (suspended cymbal and vibraphone) = Qing ci se : zi "Cai lu": wei xiang B dan huang guan, gu zheng yu qiao ji (diao ba ji gang pian qin) er xie -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet.
Lee, Kar Tai.
Durations: 8 min.; 4 min.; 4 min.; 10 min.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2009.
Abstracts in English and Chinese.
Cover Page --- p.i
Abstract --- p.ii
Acknowledgements --- p.iv
Table of Contents --- p.iv
"""Paper. Jolt “ and “ Gu . Zheng""《´紙Ø驚》與《´鼓Ø箏》" --- p.1
Carnival《嘉年華》 --- p.18
Celdaon《青瓷》 --- p.35
"Prelude, Passacaglia and Fugue《前奏、巴沙加牙和賦格曲》" --- p.48

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