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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Composition, music

Bunch, M. R. B. 2006 (has links)
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, Pictures at an Exhibition. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes. 5. Mattinata. Choral work for solo mixed voices a capella (Soprano, Alto, Tenor, Bass). Approximate duration: 8 minutes. 6. Rose Serenades. Three pieces for piano solo: Claire; …looks, my love…; “When I can Dance…” Approximate duration: 12 minutes 7. Two pieces inspired by the Düben family of organists: - Skara, for string quartet - “Prinz Regent: Tyska Kyrkan (Swedish Prelude)”, for organ. Approximate duration: 11 minutes 8. Five O’Clock. Chamber work for small ensemble (Flute, Clarinet in A, Percussion [Sleigh Bells, Claves, Sand Block, Glockenspiel, Bongo Drums], Piano, Violin, Violoncello. Approximate duration: 16 minutes.

The baroque bassoon : form, construction, acoustics, and playing qualities

Dart, Mathew 2011 (has links)
No description available.

The instrumentation and music of the church choir-band in Eastern England, with particular reference to Northamptonshire, during the late eighteenth and early nineteenth centuries

Weston, Stephen 1995 (has links)
In spite of the current upsurge of interest in the field of rural church music in the late eighteenth and early nineteenth centuries, there is surprisingly little exhaustive material dealing with one particular area of the country. Research from the early part of this century covers the West Country and Sussex, and the concensus has always been that these areas were the strongest in the tradition of local psalmody. This dissertation attempts to redress the balance by considering the choir-band in the Eastern Counties (the East Midlands, East Anglia and Mid-Anglia). The county of Northamptonshire is given particular consideration, and may be considered to be a 'typical' English county; this may show that this genre of music is very much more widespread than was formerly thought. The thesis describes the state of the late eighteenth-century Church, and discusses the role of music in the service, the situation of the choir-band and methods of payment. Examples of local psalmody in Northamptonshire are given, and the instrumentation of the choir-bands is studied, by reference to sources such as churchwardens' account books. Conclusions are drawn about instrumental trends, dispersion and influence. The lasting significance of the choir-band movement is also considered.

The cornett and performance practice in Germany, c. 1511-1545, with particular reference to divisions technique

Svan, Jamie 2005 (has links)
No description available.

Popular song and social identity in Victorian Manchester

Philemon, E. 1996 (has links)
No description available.

Changes in the transmission of 'traditional' music: the case of Japanese jiuta-sokyoku

Arisawa, Shino 2009 (has links)
No description available.

Musical composition focusing on the quality of presence in performance

Wiesenfeld, Ruth 2008 (has links)
This practice-based research into the quality of presence in performance explores a compositional approach that originates from the question of what might lead a person to seek musical or sounding utterance. It aims at opening the awareness-space towards a listening not only to the musical-acoustic event, but to the performer as a whole. Consequently different forms of notation and processes of rehearsing that address the psycho-physical constitution of a performer are investigated; a strong focus lies on the sensorimotor aspect of playing an instrument. The portfolio comprises fourteen pieces (for soloists, chamber ensembles and orchestra) as well as four collaborative projects with performance artists. Most of the pieces have been performed live: documentation on CD and DVD is included. The written part of the thesis provides a commentary on the process of bringing these pieces into being. In particular, issues of notation and rehearsal are addressed here, which are of special concern as to the transmission of conceptions regarding presence, embodiment and kinaesthetic sensitivities. I explain how the body of compositions deals with various notions of listening: receptive listening and - in the chapter on the orchestral piece spun yam - listening as a sense of touch as well as listening in wonder. Illustrated by several performance projects I outline the concept of the audience as witness rather than as observer. Additionally, I describe how I use imagery to inscribe possible stimuli for musical or sounding utterance into my compositions. To demonstrate how this research contributes to new knowledge in the field of musical composition, I compare it with similar yet different positions exemplified by Mauricio Kagel's "instrumental theatre" as well as Helmut Lachenmann's "musique concrete instrumentale" and place it against more recent trends and developments. These evaluations will show that there is no other approach to the quality of presence within musical composition coinciding exactly with mine.

Fernand Leger and the Parisian 'avant-garde', 1909-1921

Green, C. K. 1973 (has links)
No description available.

Thematic structure in selected works of Johannes Brahms, 1878-84

Callis, Sarah 1994 (has links)
No description available.

Nanguan in contemporary Taiwan : an ethnomusicological study of learning, performance, social identity and fieldwork methodology

Chiener, Chou 2001 (has links)
No description available.

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