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Tesi sul tema "Composition"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Mulvey, Grainne. "Composition portfolio : ten compositions and commentaries." Thesis, University of York, 1998. http://etheses.whiterose.ac.uk/10860/.

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2

Todd, Benedict Francis de Pomeroy. "Portfolio of compositions and composition commentary." Thesis, University of Bristol, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730838.

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3

Beiert, Michael. "Portfolio of compositions, with accompanying composition commentary." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2042979/.

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Abstract (sommario):

The following chapters describe compositional methods applied to the compositions of the portfolio (Volume I), which consists of eight works for instruments and electronic sound, as well as one purely electronic piece. The main concern in all these works is aspects of open form and, to a lesser extent, indeterminacy during performance. I highlight the research I have undertaken in preparation for each of the compositions, show how all of these pieces are progressively linked by my evolving interest in open form, and place them in context with works by other composers, past and present, who hav

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4

Foster, Simon. "A compositional semantic theory for service composition." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/1723/.

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Abstract (sommario):

Service Composition refers to a popular modern software paradigm for building applications by combining distributed reactive components using the World-Wide-Web as the medium. The approach is characterised by the use of standardised protocols, languages and representations such as XML, which ensures that services are platform agnostic. Whilst the architecture is well understood for simple single-interaction services built in the style of classical procedures from the traditional programming paradigm, much discussion is still taking place with regard to more complicated, fully reactive services

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5

Mancero, Baquerizo Daniel. "Composition musicale et modélisation de l'espace hétérophonique des Soundscape Compositions." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080041.

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Ce mémoire de thèse traite de l’analyse musicale et de la formalisation desévénements sonores qui structurent le paysage sonore. À cette fin, ce travail s’articule endeux axes complémentaires : d’une part, il constitue une évaluation des enjeux théoriqueset esthétiques au sein de l’écologie acoustico-sonore, d’un point de vue poïétique — centrésur la conception d’oeuvres musicales fondées sur le paysage sonore ou soundscapecompositions ; cela suppose de prendre en compte non seulement les préceptes théoriquesqui font de l’écologie sonore une discipline artistique à part entière, mais également

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6

Hoadley, Richard. "Composition." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/9281/.

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Abstract (sommario):

This portfolio contains a series of compositions written over the period 1987-93. Each was written for a specific competition, event or concert. Details of each individual piece can be found within the volume of commentaries included.

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7

Abbott, Paul John. "Composition." Thesis, University of York, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547331.

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8

Kontz, Catherine Daisy Renee. "Composition." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498246.

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9

Bowman, Edward Stuart Timothy. "Composition." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499114.

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10

McKay, D. T. "Composition." Thesis, Queen's University Belfast, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273087.

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11

Stringer, John. "Composition." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387767.

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12

Blain, Martin Andrew. "Composition." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338558.

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13

Roddie, Matthew. "Composition." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323691.

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14

Stimpson, Michael. "Composition." Thesis, University of Southampton, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284571.

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15

Markham, Karen. "Musical composition." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/2018/.

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16

Downie, Kenneth Frederick. "Composition portfolio." Thesis, University of Salford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491037.

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Abstract (sommario):

My composition portfolio consists of the following four works for brass band: Purcell Variations was published in 1995 and was written to mark the tercentenary of the death of Henry Purcell. ... Rejoice, the Lord is King! was commissioned by the International Staff Band for a Gala Concert at the Royal Albert Hall in London ... St. Magnus was commissioned by the European Brass Band Union as their test piece at the Championships held at the Royal Concert Hall in Glasgow, April 2004 ... The Promised Land - Symphonic Variants for Brass and Percussion was commissioned jointly by SP&S Ltd and the "B

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17

Luengen, Ramona Maria. "Composition recital." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/25694.

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18

Steenhuisen, Paul Brendan Allister. "Composition recital." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28875.

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Abstract (sommario):

The thesis is a concert of seven original musical compositions presented in the Recital Hall of the U.B.C. School of Music on February 18, 1990. NON TI RICORDl NON TI RICORDl was written for a sextet of clarinet, two percussionists, piano, violin, and cello, and is an exploration of the vast timbral possibilities of this heterogenous ensemble. In visual arts, colours are mixed, juxtaposed, and isolated; similarly, in NON TI RICORDl the timbres of the individual instruments and combinations of instruments are used to emphasize the form and highlight important points in the piece. The title, w

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19

George, Linda Margaret. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/41669.

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20

Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.

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Abstract (sommario):

This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is

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21

Otter, Franner. "Composition portfolio." Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26848/.

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Abstract (sommario):

This submission takes the form of six original musical compositions along with critical analyses. (NB in accordance with convention all references to notes and examples within the text are given in concert pitch.) The first composition, 'Lonely Isle' is written for brass band and is one movement with two contrasting sections. The music is broadly tonal throughout and the key signatures of B b major and then C minor are employed for the two sections. 'Fantasy No. 1 for Trombone' is written for solo trombone with piano accompaniment. This was written with for Brett Baker as a potential repertoir

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22

Mayall, Jeremy Mark. "Composition Portfolio." The University of Waikato, 2006. http://hdl.handle.net/10289/2398.

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Abstract (sommario):

The works in this portfolio of original compositions cover a wide spectrum of genres, styles, approaches, and musical techniques. The aim was to demonstrate mastery of the various musical languages and techniques characteristic of each genre. The calculatedly low-fi 'alt.rock meets computer games' approach of the concept album They No Longer Sleep Alone is of folk-like simplicity, deliberately eschewing the various polishing processes available to producers now in the digital mastering situation. The intention was to preserve a naturalness of sound and song making. On the other hand, live elec

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23

Johnson, Katie Andrea Elizabeth. "Composition Portfolio." The University of Waikato, 2009. http://hdl.handle.net/10289/2780.

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Abstract (sommario):

I have enjoyed this year, writing pieces that are special to me because they relate to experiences during 2008. I've written for orchestra, choir and an ensemble of xylophones and saxophone. Each piece has extended my skills and creativity in different ways from previous compositions. Prelude to the Unspoken This work is for symphony orchestra. Last year, it was rehearsed and recorded by the NZSO as part of the NZSO/Todd Young Composers Awards 2008. The pieces were recorded in the Michael Fowler Centre and conducted by Hamish McKeich. It was exciting to hear the piece come alive and watch the

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24

Stylianou, Constantinos Yerolemou. "Music composition." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427954.

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25

Foster, Christopher. "Composition portfolio." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/314592.

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Abstract (sommario):

Composition is a process of applied research. In a portfolio of eight original pieces, the technical and aesthetic components of this process are investigated from the perspective of several theoretical precepts which both inform and underpin its creative strategy. Drawing on theories of intertextuality, composition is collocated within a broad current of thought in which ideas and material from pre-existing ‘texts’ across a variety of disciplines are utilised and explored to create new compositional ‘texts’. This procedure is tested from several, key perspectives, characterised variously as:

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26

Wood, Stephen J. "Composition portfolio." Thesis, University of Salford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491047.

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27

Norris, Richard. "Composition portfolio." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506267.

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Abstract (sommario):

This thesis analyses a number of projects which represent an attempt to forge a coherent compositional language. Structurally, it delineates the contrasting, sometimes opposing elements of two distinct areas of exploration: the search tor greater accessibility in contemporary music, which focuses primarily (though not exclusively) on community endeavours; and the possibilities and results which spring from opportunities to work with professional musicians, where few stylistic or performance constraints occur.

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28

Davies, Benjamin K. "Composition Portfolio." Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505812.

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29

Harding, Richard Iestyn. "Composition commentary." Thesis, University of Bristol, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500441.

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Abstract (sommario):

Written commentary submitted with a folio of compositions: 1. Achos for trombone and piano. 2. Au for eleven strings. 3. Cerulean for eleven musicians. 4. The Death of General Wolfe for mezzo-soprano, tenor, baritone, violin, accordion or synthesizer and four percussionists. 5. Night Bus for Orchestra. 6. Sonata for violin and piano. 7. Temperamental in four parts with percussion.

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30

Bunch, M. R. B. "Composition, music." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.642214.

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Abstract (sommario):

1. SIRIUS. String quartet in five movements: C, B, A, K, S Approximate duration: 68 minutes 2. Justine: Overture for dance – “The Silvery Crescent Moon” / “The Dance of the Clown”. Full orchestra. Approximate duration: 18 minutes. 3. “The Great Gate of the Capital of Kiev”. Chamber orchestra. Approximate duration: 10 minutes. An arrangement and expansion of the original piece of the same title, as composed by Modest Petrovich Moussorgsky for his piano suite, <i>Pictures at an Exhibition</i>. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes

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31

Field, Ambrose Edmund. "Electroacoustic composition." Thesis, City University London, 1999. http://openaccess.city.ac.uk/7755/.

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Abstract (sommario):

The aesthetics of composing electroacoustic music that includes both environmental and digitally processed sounds were studied. This was accomplished by practical means, resulting in a folio of creative work. Compositional methods and techniques relating to the interaction between environmental and processed sounds are detailed in this written dissertation. The dissertation also explores compositional applications for theories derived from the discipline of acoustic ecology. The context a sound might exist in, as well as the timbral characteristics of the sound itself, are shown to be vital in

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32

van, den Broek Koen Alexander. "Composition Portfolio." Thesis, University of Canterbury. Music, 2015. http://hdl.handle.net/10092/10774.

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Enrolling in Masters in a natural progression for me as a composer. This follows directly on from my other tertiary study: First Class Honours Degree in Composition from University of Canterbury; Diploma in Jazz from CPIT Jazz School majoring in Composition and Arranging. My body of work includes compositions for the Silencio Ensemble, a ten piece new-music ensemble, which I was the co-founder and musical director/conductor of ('05-'09). I have received several grants from Creative New Zealand including grants in 2008 and 2013 for 'Still Standing Silent' a work composed for mixed discipline

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33

Nitibhon, Anothal. "Composition portfolio." Thesis, University of Edinburgh, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.660021.

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<i>Makkha: </i>Orchestra and dancer. <i>Dukkha I-IV</i>: Double bass and string quartet. <i>Inside and Outside: </i>Horn and piano. <i>Prayers’ Cave</i>: Viola solo, viola ensemble and piano; Viola solo, two violins and piano. <i>Voiceless sketches I, II, III, IV, VI</i>: 1<sup>st</sup> version for flute, clarinet, violin, viola, cello, piano and percussion; 2<sup>nd</sup> version for flute, string quartet and piano. <i>Phra Lo (Voiceless sketches V)</i>: Music with poems for two dancers, human voices and chamber orchestra. <i>Music in the community works</i>: Community pieces involving creati

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34

Grierson, Michael Stuart. "Audiovisual composition." Thesis, University of Kent, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432901.

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35

Benson, John Stuart. "Music composition." Thesis, University of Salford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400828.

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36

Mcbirnie, Andrew Robert. "Composition (Portfolio)." Thesis, Royal Academy of Music (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267131.

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37

Carvalho, Sara. "Music composition." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367491.

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38

Eato, Jonathan. "Composition folio." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431243.

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39

Renwick, Brendon. "Music composition." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259823.

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40

Simaku, Thoma. "Composition folio." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338858.

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41

Fells, Nicolas A. "Composition folio." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242161.

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42

Mealor, Paul. "Composition (Portfolio)." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412603.

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43

Dowling, Fergal. "Composition portfolio." Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434156.

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44

Lorraine, Ross James. "PhD - Composition." Thesis, King's College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398867.

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45

Alexander, Christian David. "Musical composition." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247192.

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46

Pritchard, Alwynne. "Composition portfolio." Thesis, University of Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271833.

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47

Baracskai, Zlatko. "Composition portfolio." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1739/.

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Abstract (sommario):

This is a portfolio of ten compositions composed at the Electroacoustic Music Studios at the University of Birmingham, Audio Research Lab at the Birmingham City University and my home studio during the period October 2007 – September 2010. The commentary comprises a set of philosophical considerations about my compositions and intent for creation. Further chapters are dedicated to compositional techniques, related traditions and piece specific documentation. A recent CD release from ‘diobel kiado’ publishing house is attached which contains two of the presented compositions. The rest of the pr

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48

Otondo, Felipe. "Composition portfolio." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/11081/.

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This portfolio includes four electronic pieces as well as three works especially devised for dance and theatre. The electronic music compositions Plastiches, Clangor, Showtime! and Ciguri investigate different approaches to the use of space and temporal structures. The works Dance studies Nos. 1 &2 were created as collaborations with choreographers and explore aspects of the relationship between music and contemporary dance. The large-scale dance-theatre work To have done with the judgment ofArtaud explores different aspects of experimental music and contemporary dance and is related to the la

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49

MacMillan, James. "Music composition." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/10283/.

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Abstract (sommario):

The works in this folio are not so much concerned with stylistic unity and consistency as with balancing a strongly subjective expression with the need to shape the music into an effective dramatic (or even melodramatic) entity. In achieving a successful fusion of these priorities the eight works gradually unfold various approaches to handling melodic, rhythmic, harmonic and textural parameters. In preserving and enhancing that which is purely instinctual there is an emerging realization throughout the folio that it has to be submitted to some exercise of the intellect, incorporating a degree

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50

Cashian, Philip. "Music composition." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/10284/.

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