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Tesi sul tema "Orchestral music Scores"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 28 gennaio 2023

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1

Maidanik, Victoria. "Vicissitudes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37251.pdf.

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2

Frank, Robert J. 1961. "Temporal Distortions: a Composition for Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.

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Abstract (sommario):

Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant

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3

Au, Siu-ming Stefan. "Sinfonietta." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278459/.

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Abstract (sommario):

Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda

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4

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

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5

Godin, Scott 1970. "Weight for orchestra." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84210.

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Abstract (sommario):

This dissertation consists of two parts. Part One is a written text which defines compositional processes and provides an analysis of the musical material incorporated in weight, my composition for orchestra. Part Two of the dissertation comprises the musical score for weight.<br>weight is a nineteen-minute composition for symphonic orchestra [2222, 4231, piano, percussion (2 players), timpani, strings (16,14,10,10,8)] which attempts to exploit the various allusions conjured up by the title. The term "weight" implies lightness or heaviness which can be applied to various musical element

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6

Jestadt, Jason T. "Desert places : for orchestra." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32833.

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Desert Places is a composition for large orchestra with a duration of approximately 12 minutes. Inspired by the Robert Frost poem "Desert Places", the work is primarily concerned with "covering up" one type of musical material with another. Specifically, the work contains a large-scale "cross-fading" of two types of motivic material, and two types of harmonic material. While the processes at work remain clearly defined, the musical materials move smoothly and gradually through the piece, exchanging foreground and background positions, and blurring the divisions of sections.

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7

Walczyk, Kevin 1964. "Capriccio: A Composition for Symphonic Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935623/.

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Abstract (sommario):

A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.

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8

Gaviola, Natalia. "De azufre y sal." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37296.pdf.

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9

Dehler, Elizabeth. "Now and forever." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79278.

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Abstract (sommario):

Now and Forever is a thesis in two parts: a twelve-minute piece for orchestra and a text providing an analysis of the piece. The orchestra consists of two flutes (flute 2 doubling piccolo), two oboes, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in C, two tenor trombones, one bass trombone, two percussion and strings. The work features the use of an original text as the underlying program, the use of golden section proportions as a principal organisational device, a rising semitone motive as the foundation for melodic, harmonic and registral development, and the

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10

Desjardins, Jacques A. 1962. "Les Chemins de Milarepa /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59549.

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Abstract (sommario):

This project consists of two parts. The first part is a composition for orchestra of approximately thirteen minutes in duration. The second part, an analysis of the work, describes the music in terms of its form, harmony, rhythm and orchestration.<br>The piece can be considered as a free rondo in the sense that it does not necessarily follow the usual plan of the classical rondo. This particular composition sometimes displays two verses in a row, thus trying to introduce some new ideas into this very old type of musical form.<br>In terms of harmony, the work deals with two basic categories of

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11

Shuebrook, Paul. "Mudra." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23979.

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Abstract (sommario):

"Mudra" is the transliteration of a Sanskrit word meaning "symbol" or "gesture". This piece is inspired by the interaction of thoughts, breathing patterns, spontaneous bodily movements and sensations which can occur during the yogic practice of 'pranayam'. The work is written for flute/piccolo, oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, piano, four violins, two violas, two cellos, and two double basses.<br>The piece is divided into twelve sections, clearly delineated by changes in harmony, texture, meter, and registration. As the music unfolds, seven rhythmic

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12

Chang, Yuli 1982. "Poetic afterthought : seven pieces for orchestra." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.

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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.

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13

García, de la Torre Mauricio 1976. "Cachalote." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.

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Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the ap

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14

Chong, Lok-Shing. "The Last Seven Words." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500283/.

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Abstract (sommario):

The Last Seven Words is an orchestral piece with double woodwind, double brass, and two sets of timpani. The duration of the work is seventeen minutes. The forty-six pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to write an orchestra piece with a single scale and seven rhythmic patterns.

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15

Fu, Yuen-Wai. "Designs." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500509/.

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Abstract (sommario):

Designs is an algorithmic composition for small orchestra. The main compositional process used involves the realization and implementation of various musical algorithms discussed in the book Composition with Pitch-Classes by theorist/composer Robert Morris.

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16

Sullivan, Timothy. "Terrains, for orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/NQ41088.pdf.

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17

Dribus, John Alexander. "Breaking Through: A Composition for Symphony Orchestra." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/dribus%5Fjohn%5Falexander/index.htm.

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18

Cary, Tristram. "Portfolio of original compositions." Title page and table of contents only, 2000. http://web4.library.adelaide.edu.au/theses/09MUD/09mudc333.pdf.

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Abstract (sommario):

Includes comprehensive bibliography the composer's works. Biographical notes and list of works -- The ladykillers: a suite for orchestra in three movements based on the music composed for the 1955 Ealing comedy -- Contours and densities at First Hill: fifteen landscapes for orchestra -- I am here, for soprano and tape -- Scenes from a life, for orchestra - one movement with three sections. Apart from Contours and densities at First Hill, which was commissioned by the University of Adelaide, these works submitted for D. Mus have not ben published commercially.

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19

Morel, Jessica. "Orchestral Excerpts for Conductors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157567/.

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Abstract (sommario):

"Orchestral Excerpts for Conductors" is a compilation of sixty-five full score excerpts from the orchestral repertory arranged for string quartet and piano. The purpose of this collection is to provide conducting students with a pedagogical resource for learning how to handle technically challenging excerpts in orchestral music. This dissertation serves as a plan for the final publication of the excerpts book; while it includes the full score excerpts, it does not include the arrangements for string quartet and piano.

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20

Adler, Ayal. "Crystallisation : for a large orchestra." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85219.

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Abstract (sommario):

This essay presents an analysis of Crystallisation, a composition for a large orchestra. The work consists of a single movement, with a duration of approximately 15 minutes.<br>The analysis focuses mainly on formal structure, pitch organization, texture and rhythm. Some of the main topics are: large-scale form and subdivisions of each section, thematic interrelations of the sections, central pitches, pitch collections, chord structure and interrelations between texture and rhythm.<br>Throughout the course of the work, the music closely follows an overall process of searching for a valid struct

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21

Bryant, Steven 1972. "Loose Id for Orchestra." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278090/.

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Abstract (sommario):

Loose Id, scored for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, B-flat contrabass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B-flat, 2 trombones, 1 bass trombone, tuba, timpani, percussion (3 parts), violin I, violin II, viola, violoncello, and contrabass), is an abstract realization in sound of the energy of the Id. Unleashed, without the counterbalance of Ego or Superego, the Id generates unbridled instinctual energy, resulting in an orgiastic frenzy. Distinct from a state of dementia, this piece represents a thoroughly lucid and intentional rampage o

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22

Holbrook, Geoffrey. "Sets and senses : a work for symphony orchestra accompanied by an analysis : a hierarchy of scienceart interactions." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99174.

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Abstract (sommario):

Sets and the Senses is a work for symphony orchestra that bears the interaction between science and art as its overriding theme. Formalizations of compositional parameters that relate to this interaction are established, in particular those relating to the contrast between systematic and intuitively composed music, in order to provide a vehicle for musical communication on the theme. A summary of scientific and artistic elements of the compositional process reveals in the work an ingrained hierarchy of science/art interactions. Specific strategies for manipulating the science/art parameters ar

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23

Walczyk, Kevin 1964. "Two Movements from the Delphic Suite: A Composition for Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc501059/.

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Abstract (sommario):

Delphic Suite is a composition for orchestra that depicts specific events narrated in Homer's epic tale, Odyssey. For the purpose of this thesis the second movement, Raid on Ismarus, has been omitted so as to focus on the melodic, rhythmic, and harmonic structures of the first movement, Lament from Troy, and the third movement, Ruler of the Winds. Each of these musical parameters will be analyzed in order to illustrate the Suite's imitation of compositional techniques exemplified in the music of Homer's era, and the musical results obtained by juxtaposing those parameters upon a twentieth-cent

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24

Floyd, James Michael. "Images of Remembered Earth." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2534/.

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Abstract (sommario):

Images of Remembered Earth is a musical composition scored for full orchestra. The composition was inspired by Georgia O'Keeffe's painting, Light Coming on the Plains I (1917), which depicts a sunrise over a flat and empty landscape. In the painting, the expanse of the sun's rays is expressed through an even-blended transformation of color from goldish-blue at the light's source to progressively darker shades of blue near the edges of the canvas. The progression of color is interrupted by thin gold bands which sectionalize the sunrise into seven concentric arches. The construction of the mus

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25

Wu, Dien-Foon. "The Wanderer." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278746/.

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Abstract (sommario):

The Wanderer is an orchestra piece 18'42" in duration. The purpose of this project is to provide the composer an opportunity to express through music his experience with God, rebellion, and returning as the wanderering son did in the Bible's parable.

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26

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

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27

Emmanouelides, Evangelos. "Anthropus Pananthropus : a work in three continuous movements for Symphony Orchestra with rebetiko trio, alto saxophone and double bass." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69727.

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28

Moura, Eli-Eri Luiz de. "Noite dos tambores silenciosos : for symphony orchestra." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84689.

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Abstract (sommario):

In this paper the compositional issues and techniques employed in my D.Mus. Thesis Composition Noite dos Tambores Silenciosos (for symphony orchestra) are discussed. The piece, constituted of three linked parts, exhibits a counterpoint of three distinct kinds of music as the main vehicle of the musical discourse.<br>Two of these musics are connected with Maracatu de Baque Virado and Maracatu Rural, popular musical manifestations found in Pernambuco, a state in northeast Brazil. In a "defragmentation" process, reference materials from the Maracatus are abstractly fragmented and reconstru

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29

Gerard, Garrison. "EverWind: Original Composition and Analytical Essay on the Role of Inspiration and Nature in Music." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538726/.

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Abstract (sommario):

This paper provides an overview of the inspiration, research, and creative process involved in the composition of EverWind for orchestra and electronics. EverWind is based on field recordings from the American Southwest. The composition uses pitch material derived from spectral analysis of the recordings, and it incorporates a fixed media element using the field recordings that are then electronically manipulated to various degrees; this fixed media element is played alongside the orchestra. The paper also analyzes John Luther Adams' Dark Waves for Orchestra and Electronics and R. Murray Schaf

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30

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

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31

Budón, Osvaldo 1965. "Alrededor de una música auscente." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84687.

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Abstract (sommario):

Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience.<br>Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to anoth

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32

Christensen, Justin. "Tourniquet mirage." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83162.

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Abstract (sommario):

Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform.<br

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33

Schmidt, Douglas Garth. "Eyes without light." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32243.

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Abstract (sommario):

"Eyes Without Light" is conceived and scored for symphonic orchestra. The title of this work reflects personal concerns regarding global environmental issues. The phrase "eyes without light", derived from the Gaelic term "sul gan solas", refers in this instance to the blind greed of multi-national industrial and political corporations which are responsible for the destruction of the earth's ecosystem (primarily the forests and oceans). This work, influenced by the 19th-century symphonic poem initiated by Beethoven, Berlioz and Liszt, is programmatic in nature. The busy, confrontational destru

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34

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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35

Howard, Chris 1967. "Prelude, chorale and fantasy : Ecclesiastes 12." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69607.

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Abstract (sommario):

The Prelude, Chorale and Fantasy is a tonally conceived work for orchestra with a duration of approximately twenty minutes which uses as its inspiration the final chapter of Ecclesiastes. It is constructed from a relatively small number of germinal elements which function throughout the work as connecting forces and icons. In it can be found musical ideas used to represent the Trinity, the most significant of which are the quotations of the hymn "How Brightly Shines the Morning Star" which appear throughout.<br>A greater understanding of the work can be gained by approaching it first on a phil

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36

O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Abstract (sommario):

Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen,

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37

Han, Sang-Eun. "Symphonic Fantasia Han-Kook Oui Ja-Yeon (Nature in Korea): Score and Critical Commentary." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/han%5Fsang-eun/index.htm.

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38

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

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Abstract (sommario):

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

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39

Lin, Tung-Lung. "The Heidegger Collection." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2626/.

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Abstract (sommario):

The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music compos

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40

Campbell, Andrew (Andrew S. ). "Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, --." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862786/.

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Abstract (sommario):

This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tem

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41

Buck, Wayne A. "Triad fantasy : score and analysis /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131527718.pdf.

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42

Morell, Justin 1973. "Symphonies -- Scores and parts." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11058.

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Abstract (sommario):

1 score (xvii, 233 p.)<br>Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination. Composers have sometimes turned to mathematics as a tool for generating art though the system

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43

Moura, Eli-Eri Luiz de. "Nocturnales : for chamber orchestra." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23443.

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v.1. Musical composition -- v.2. Analysis.<br>In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decis

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Currie, Neil Alan. "Rhapsody for saxophone and orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/NQ38874.pdf.

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45

Yamanaka, Keiko 1970. "X : for chamber orchestra (1998)." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21497.

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X is a composition for a chamber orchestra with a duration of approximately 13'30″. The title X (read as "cross") refers to a cross-weave pattern created by superimposing the trills and written-out tremolos in the piece. While the trills and tremolos are used throughout the piece to create a sense of textural variety, they have an important function in controlling the formal structure of the piece. The texture, which is one of the important features of the composition, makes the overall form apparent.

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Crowley, Timothy R. (Timothy Robert). "In Nomine Domini." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279249/.

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In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibr

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

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

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Contreras, Maria Elena. "Paradoja: concerto for orchestra [score]." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/969.

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Music Composition<br>D.M.A.<br>Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algar

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Alley, Candace P. "Jasmine's Secret: Narrative Cantata for Five Solo Voices, Narrator, and Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935619/.

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Since Jasmine's Secret contains elements of cantata and follows a dramatic story or program, the work may be classified as a narrative or dramatic story or program, the work may be classified as a narrative or dramatic cantata employing five solo voices, narrator and orchestra. This work attempts a revival of these two genres as a combined entity due to the decreased popularity of both cantata and programmatic music in the 20th century.

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Flueck, Christa Anne. "A New Score for Orchestra Education Programs: A Descriptive Analysis of the Cleveland Orchestra's Learning Through Music Teacher and Musician Workshops." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392970753.

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