Muzio Clementi's symphonies were first performed in London between 1786 and 1796. After an extended hiatus from 1796 to 1813, his symphonic works appeared on programs again from 1813 to 1824. Clementi's career as a symphonist corresponds closely with trends in London's concert life. The reception of Clementi's symphonies during his lifetime has frequently been misinterpreted by scholars who oversimplify the use of "science" in musical discourse of the day and fail to consider the positive connotations of this adjective, so frequently applied to Clementi. Musical discourse at the time addressed the science and art of music emphasizing a composition, or its composer's, science, harmony, effects, genius, and the audience's response. Though an unstated ideal, reviews evince a preference for balancing scientific and artistic display. Reviews of Clementi's symphonies suggest he initially struggled to balance the technical and artistic qualities of his compositions but succeeded, according to reviews, in finally doing so in 1796. After his early efforts, Clementi was consistently praised as worthy to stand among the current and most prestigious composers of the continent: Haydn and Mozart initially, and Beethoven and Rossini later.

Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.

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Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals. The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.

The harmony of Vaughan Williams defies classification in terms of traditional harmony alone, making use as it does at times, of structures of superposed fourths, so-called "added-note" chords, and random sonorities, as will appear. Therefore, the chords will be placed into two principal categories of usage, traditional and non-traditional.

Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

Mahler's use of recurring thematic and motivic elements is the topic under consideration in this paper. The subject was decided upon after a preliminary investigation into possible instances of the use of leitmotiv in Mahler's Symphony JI led to the conclusion that occurrences of that device are, at best, only matters of supposition. The study did reveal, however, a considerable number of themes and motives in Symphony 1I that could be traced directly to Symphony I. A logical question followed: Were there similar recurrences in any of the other symphonies? Further research indicated that such instances of cyclicism (a more concise synonym for "recurring themes and motives") were not only common, but were an important element in Mahler's style.

我在二零一一至二零一二年度期間創作的音樂作品涵蓋各種樂器配置與規模，意在以各種不同的載體去發揮音樂創意。本作品集精挑細選於上述期間創作的三首作品集成，包括一首室內樂團作品，一首管樂團作品，以及一首五重奏室內樂作品。每首作品以不同的音樂元素為焦點，諸如音高、音色、織體、節奏；這些焦點皆以引出創藝潛能為目標，增加在未來創作中所能靈活運用的音樂素材。每首作品的音樂元素焦點如下： / 《魘逐》為室內樂團作品，以節奏為焦點。錯落的節奏以及各種節奏上的音樂趣味，透過音高材料有限的運用及發展得以突出，是以本作在和聲和旅律方面的音高大部分是為由單一的音級集合所掌控。 / 《夜潮》為管樂團作品，主要探索木管、銅管與毃擊各種樂器協作間的漸變音色和織體。低音大鑼為本作的重要角色，奏出一輪混沌的泛音群，與管樂團內的各種樂器融為一體。音色組合的漸變為本作添加音樂上的趣味，而由升F多利安調式所限制的音高素材則能突顯音色與織體的發展。 / 《蜃景》是寫給五件樂器的室樂作品，特意探索弦樂器的微觀音色變化，包括小提琴、中提琴、低音大提琴，主要以漸變而誇張的運弓位置轉換達成。弦樂的一組與雙簧管、巴松管的一組時而相互配合，時而各自發揮，而雙簧組合的音色亦透過各種演奏技巧或音域加以變化。音高素材為簡約的兩個四音和弦，其相扣而成的音階在曲中慢慢成形。跟《夜潮》相比，《蜃景》的音色與織體變化在室內樂的設定中，更容易讓聽眾體驗到當中細緻精密的音樂設計。 / Aiming to channel musical creativity into an array of vehicles, my works composed in 20112012 involve instrumental forces of varying line-up and sizes. Three carefully selected works from the said compositional output are featured in this portfolio: one work for chamber orchestra, one work for symphonic band, and one chamber work for five instruments. Each of them focuses on a different parameter of music ranging from pitch, timbre, texture, to rhythm; by imposing such a focus, it fulfils my intention of stretching my creative potential in all these different parameters, in hopes of expanding the breadth of my musical vocabularies that I could employ with ease and flair in my future works. The parametrical foci are explained as follows. / The Nightmare Escape, a chamber orchestral work, is a composition that focuses on the rhythmic aspect. The irregularities and musical interests in rhythm are emphasized through the economic, if not limited, employment and development of pitch materials that are, for the majority of the piece, organized by pitch-class set harmonically and melodically. / Les Marèes de la nuit, a piece for symphonic band, explores the gradual change of instrumental colour and textures within the domain of winds, brass, and percussions. A key instrument featured in this piece is the tam-tam, which creates a cloud of overtones that seamlessly blend with any of the instrumental sounds from the orchestra. The gradual shifting of sound combination creates the musical interest in this piece. The confining of pitch materials within the F-sharp Dorian mode contributes to the central idea of timbral and textural development. / Fata Morgana, a chamber work for five instruments, experiments with microscopic timbral effects in the strings, namely violin, viola, and double bass, through the employment of gradual yet exaggerative shifting in bow position. At different intervals, this cohort works together or against the double-reed cohort of oboe and bassoon, whose timbral possibilities are also explored through different playing techniques and registers. The pitch material is further streamlined to two interlocking tetrachords that slowly unfold a synthetic scale. Compared to Les Marèes de la nuit, Fata Morgana features more minute timbral and textural changes within a chamber ensemble setting, making the refined and delicate design more readily audible to the audience. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Kai Young. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2012. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgements --- p.iv / Table of Contents --- p.v / The Nightmare Escape (2011) 《魘逐》 --- p.1 / Les Marèes de la Nuit (2012) 《夜潮》 --- p.21 / Fata Morgana (2012) 《蜃景》 --- p.64

Diss.--Freiburg--Albert-Ludwigs-Univ., 1995. / Bibliogr. et discogr. p. 335-347.

Little has been written about Tchaikovsky's Third Symphony, and it is rarely performed. Many of the compositional techniques used in this symphony were also used in Tchaikovsky's later symphonies; in some regards, however, the Third Symphony is atypical (if not unique) in relation to his other symphonies: It contains five movements, its tonic key is major, and it is not programmatic. This thesis presents a comprehensive analysis of the symphony as it unfolds, and this is illustrated with musical examples and analytical figures. An analysis chart of each movement (detailing form and key) is given. Each movement is summarized in terms of sonorities, tonalities, and methods of modulation, thereby providing some insights into the consistency/variety of Tchaikovsky's compositional language in this symphony. It is hoped that this analysis will help to generate interest in this important Tchaikovsky symphony that has, to date, attracted little attention.