Bibliografie tematiche / Songs (High voice) with electronics Scores

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Letteratura scientifica selezionata sul tema "Songs (High voice) with electronics Scores"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 1 febbraio 2022

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Articoli di riviste sul tema "Songs (High voice) with electronics Scores"

1

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (May 1, 2007). http://dx.doi.org/10.5204/mcj.2620.

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Abstract (sommario):

 
 
 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Tesi sul tema "Songs (High voice) with electronics Scores"

1

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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2

Lackey, William Joseph Mobberley James. "Ritual of the body electric a multimedia work scored for soprano, chamber ensemble and electronics /." Diss., UMK access, 2009.

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Abstract (sommario):
Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.<br>"Five dances and nineteen musicians are featured in the work"--p. ii. "A dissertation in music composition." Advisor: James Mobberley. Duration: 30:00. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Online version of the print edition.
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3

Lillios, Elainie. "Earth Ascending: A Composition in Three Movements for Female Voice, Electroacoustic Music, and Video." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2627/.

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Abstract (sommario):
Earth Ascending is a composition in three movements scored for female voice, electroacoustic music, and video. Composed in the Year 2000, Earth Ascending lasts approximately sixteen minutes and was created specifically for live performance in which all three elements combine to create a sonic and visual environment. As such, no single element has greater importance than any other, with each of the three performing forces assuming a foreground role at various times throughout the work. Earth Ascending is defined by a single poem written by contemporary female British poets Jeni Counzyn, Jehanne
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4

Ferguson, Sean. "Vox Machina." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69656.

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Abstract (sommario):
Vox Machina, for soprano, chamber ensemble, real-time digital signal processing and digital sounds, deals with the historical relationship between humanity and machines. The text uses excerpts drawn from a variety of sources, all in the public domain, as well as material written especially for the piece by the composer. The instrumental ensemble consists of 8 performers: flute, b-flat clarinet, horn, violin, viola, cello, guitar and percussion. A conductor is required, as well as a technician to control a mixing board and the performance of computer-generated sections of music. Digital sounds
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5

Bober, Nicholas Bradburn. "This Creature, Bride of Christ." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28395/.

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Abstract (sommario):
This Creature, Bride of Christ is a composition for soprano, alto flute, viola, marimba, and computer running custom software for live interactive performance in the Max/MSP environment. The work is a setting of excerpts from The Book of Margery Kempe, an early autobiographical manuscript depicting the life of a Christian mystic. The thesis discusses the historical, sociological, and musical context of the text and its musical setting; the use of borrowed materials from music of John Dunstable, Richard Wagner, and the tradition of change ringing; and the technologies used to realize the comput
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6

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

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Abstract (sommario):
Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender a
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7

Frehner, Paul (Paul Anton). "Souvenirs du vent : pour soprano et orchestre de chambre = for soprano and chamber for orchestra." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28027.

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Abstract (sommario):
Souvenirs du vent is a composition for soprano and chamber orchestra with a duration of approximately 16'.30". The piece consists of three movements, a prelude, two interludes and a postlude. The poems set in the three movements were chosen for their similar subject matter, the wind. This common subject is emphasized by a music in which both the large-scale and small-scale formal divisions are blurred through structural counterpoint. The poets of the three poems are all from the Montreal area; they are: Emile Nelligan, Claude Brouille and Remi-Paul Forgues.
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8

Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Abstract (sommario):
Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclica
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9

Hall, Emily. "Inside is the sky : for mezzo soprano and chamber orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83168.

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Abstract (sommario):
Inside is the Sky is a musical composition for mezzo soprano and chamber orchestra. It is a collection of four songs using poems by renowned Canadian poet Lorna Crozier: A Summer's Singing, In Moonlight, Tautologies of Summer, and Inner Space. The composer wishes to connect music and poetry on a fundamental level. The approach is to write music that responds not to the mere surface of the poems, but rather to their central poetic themes, by means of parameters intrinsic to music: harmony, rhythm, melody, and registral expanse.
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Monroe, Deborah J. "Prayers of Adoration, Confession, Thanksgiving and Supplication: A Composition for Soprano and Chamber Ensemble." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4584/.

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Abstract (sommario):
This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of mus
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Libri sul tema "Songs (High voice) with electronics Scores"

1

Harbison, John. Milosz songs: For voice and piano. New York, NY: Associated Music Publishers, 2008.

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2

Walker, George. Lilacs: Voice and orchestra (1995). Saint Louis, MO: MMB Music, 1996.

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3

Stiller, Andrew. Three songs. Philadelphia: Kallisti Music Press, 1996.

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4

Pasatieri, Thomas. Windsongs: A collection of songs for soprano. New York: G. Schirmer, 1989.

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5

Previn, André. Honey and rue: Six songs for soprana and orchestra. London, England: Chester Music, 1994.

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6

Babbitt, Milton. Quatrains: For soprano voice and two clarinets. Baltimore, MD: Smith Publications, 1996.

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7

Górecki, Henryk Mikołaj. Symphony no. 3: Symfonia pieśni żałosnych = Symphony of sorrowful songs : opus 36. London?]: Boosey & Hawkes, 1992.

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8

Walker, George. Lilacs: Voice and orchestra (1995). Saint Louis, MO: MMB Music, 1996.

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9

Satoh, Somei. Mandara trilogy. San Francisco, CA: New Albion Records, 1998.

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10

Henry, Purcell. Songs. Mainz: Schott, 1994.

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