For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical tasks on bassoon, clarinet, flute, oboe, and alto saxophone. The musical tasks cover the standard ranges of each instrument, differences between vibrato and straight-tone, and a variety of musical dynamics. The data was collected and examined for trends. The specific aims of this study are to (1) determine whether there is a correlation between IOP and sound pressure, (2) shed light on how well each instrument responds to rapid fluctuation, and (3) determine which instruments are most efficient when converting air pressure into sound output. Results of this study raised concerns shared by previous studies – that woodwind players are potentially causing harm to their oropharynx by inaccurately perceiving intraoral pressure needed to achieve a characteristic sound. Evidence found by this study suggests that while oboists generate high intraoral pressure for relatively little sound output (a fact corroborated by past studies), the same cannot be said for all of the woodwind instruments, particularly the flute.

"Movements -- homage to Joseph Haydn" is commissioned by Dr. Helmut Sohmen, to commemorate the 200th anniversary of the death of Joseph Haydn. It is premiered by the Anton von Webern Orchestra of the Universitat fur Musik und darstellende Kunst Wien in Vienna on 28 November 2009. The Asian premiere is performed on I February 2010, by the orchestra of the Academy of Performance Arts of Hong Kong. / During the past two centuries, music has developed from classical to romantic, and to contemporary; orchestra size from thirty musicians to a double or even a triple; from simple harmonic structures to complicated; from tonal to atonal; from sound to silence; from resonance to dissonance and noise (or some people say it in the other way round); and lastly, from Haydn to contemporary composers (including Tang!!). In "Movements -- homage to Joseph Haydn", inspired by Haydn's simplicity, several excerpts are taken from Haydn's works, small as just a tiny fragment or large as an original quotation. It aims to strive for a balance between the shifting of Haydn's style and Tang's, giving a mix of classical and modern flavor. It shows changes from the modern to the classical Haydn, then back to the modern, like a scene of time line. Movements is presented in one continuous movement, with four distinct sections: I. Before "Sunrise"; II. Franz Joseph Haydn; III. After "The Lark"; and IV. Adagio e cantabile. / I. Before "Sunrise" begins in a rather slow but ongoing tempo, creating a blurred atmosphere; not really a descriptive scene before a real sunrise. It aims for a feeling of leading-to, moving towards the string quartet "Sunrise" by Haydn. Although nothing from Sunrise has been used, the musical ideas are taken from the works before it. The piccolo leads the start with a series of acute repeated notes, which create the vague sounds of the minor 7th and the major 9th intervals with the repeated pattern in the trumpets and the piano. The figures are then followed by the other main element: the long sustained chords, which are recurred frequently throughout the whole section. The long chords echo in the orchestra, and sustain with inner-movement shifting among different groups of instruments, in varying registers. When the repetitions and the long sustained chords get merging together, the repeated figures gradually become transparent, and transform into a dominant one. Without any pauses, the repetitions naturally turn into the second section and fill into its harmony. / II. Franz Joseph Haydn has a quoted passage from Haydn's String Quartet No. 61 "Fifth" in D minor op. 76 no.2, also presented in the solo strings, with accompaniment of the tutti strings and harmonic support from the winds. The second section differs from the misty first; the quotation itself is clear and with varying developments afterwards. / III. After "The Lark", a fast section, has a quoted passage from the last movement of Haydn's String Quartet No. 53 in D major "The Lark" op.64 no.5. Short scale figures are used in a simple phrase structure. The changing texture is important so as to maintain the direction and progression of the section. Starting in the woodwind section, each phrase is designed to keep a common factor of spinning up and down, and spiraling among the entire ensemble. Layers with different fragmented materials are added onto the top like a multilayer cake. Together with numerous contrapuntal shifting, where two or three different textural ideas move at the same time, new but related ideas (scale figures) are kept being created. It is like putting hundreds of images of one single object together onto one single screen, with images taken in different angles, different time and different perspectives. Within the screen, uncountable colorful details are kept, with chemical effects. / The first theme of the second movement of Haydn's Piano Sonata no.59 in E flat major is collaged with the last section, IV. Adagio e cantabile. Sustained chords are built to proceed alongside the theme, in a way of fading in and out alternatively. The finale aims for a conclusion of the whole piece, bringing Haydn to modernity. Both subjects are like representing two different times from two different spaces, recurring in the same moment and on the same platform. / The instrumentation of Movements consists of pair winds (with the exception of an extra bass clarinet and four horns), percussions, piano and strings. In order to pay tribute to Haydn's string quartets, the first and third sections are entitled after two famous quartets: String Quartet No. 63 "Sunrise" in Bb major op.76 no.4 and String Quartet No. 53 in D major "The Lark" op.64 no.5. The strings are sometimes divided into a solo group of quartet versus the tutti strings, implying a string quartet solo with orchestra accompaniment. Adagio e cantabile, the title of the last section, is a tempo marking taken from a slow movement of a Haydn's Piano Sonata no.59 Hob. XVI: 49 in Eb major, where the sonata was also partially used in a 1994 movie "Interview of the Vampire: The Vampire Chronicles" . In general, the tempo structure is simply set in a form of slow-fast-slow, as III. After "The Lark" is a comparatively faster section than the other three. Gestures from Haydn's string quartets are used as reference. For example, simply chords, scale pattern, repeated notes and simple phrase structure, are constructed as the foundation of Movements . These gestures are designed to be presented in varying ways such as variations, augmentation, amplification, and compression. / 1. Movements: homage to Joseph Haydn, for orchestra -- 2. Falling up, for string quartet and suona -- 3. Distorted indulgence, for clarinet, electric-guitar, cello, contrabass, piano and percussion (all amplified) -- 4. It is what it is! for sheng and chamber orchestra (1 clarinet in Bb, 1 bass clarinet in Bb, 1 soprano saxophone in Bb, 1 alto saxophone in Eb, 1 horn in F, 1 tuba, 1 violin, 1 viola, 1 cello, 1 piano, 1 percussion) -- 5. Chao, for suona and Chinese orchestra -- 6. Dragon-lantern, for 9 suonas and Chinese orchestra -- 7. Clarin and Tim, for Bb clarinet, tenor timpani and concert timpani. / Tang, Lok Yin. / "(December 2009)"--Abstract. / Adviser: Wai Kwong Victor Chan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (D.Mus.)--Chinese University of Hong Kong, 2010. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra. / The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra. / Tang Lok-yin. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Librettos (1st work) in English ; abstracts in English and Chinese. / Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano" / Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas / Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics / Chapter Composition 4 --- Playing Game for Orchestra / Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra / Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra. / Yang Jin Fong. / "June 2004." / Thesis (D.Mus.)--Chinese University of Hong Kong, 2004. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well.

Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well. / Arts, Faculty of / Music, School of / Includes 1 sound cassette / Graduate

Louis Cahuzac was one of the most sought-after clarinetists in the first half of the twentieth century. He was also highly respected as a conductor, as a teacher, and as a composer of music for the clarinet. The selections performed and discussed in the lecture depict Cahuzac's use of simple compositional forms and procedures which blend the expressive capability of the clarinet with its technical potential.

In this work I have explored different ways of communicating the notated music (even in a more abstract form) to the musicians. How can I develop the aesthetics I am aiming for by using specific techniques in notation. I have also investigated how to incorporate the strengths of each improviser and whether it is possible to use these strengths as a compositional factor The group consists of a group of seven musicians playing 9 different instruments in total: trumpet, trombone, mellophonium, alto saxophone, tenor saxophone, clarinet, bass trombone, double bass and drums. During this project I wanted to make the most of composing and arranging for this particular constellation of instruments and the musicians who plays them.   The music I have written is for the most part influenced by jazz but sometimes bordering to a more classical or orchestral approach. In this project, I have challenged myself as an instrumentalist and a composer by utilizing a low C-string on the double bass. And while it made some passages more technically difficult to execute on the instrument, it has pushed me forward as a composer in wanting to explore all the different sounds and timbres available. The project resulted in a recording session at Sunnanå Studio, Sweden. / <p>Repertoar samt mediedokumentation:</p><p>1. <strong>Preludium</strong> (kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p>2. <strong>Faktiskt</strong> (kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p>3.<strong> Musikhandlaren</strong> (kompositör:Andreas Henningsson</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>4. <strong>Gikt Fever </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>5. <strong>Humoresque pour les Chats </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Mellofon, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett och Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>6. <strong>Interludium </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p></p><p>7. <strong>Three Brothers </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>8. <strong>Roll </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>9. <strong>Valse des Bois </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>10. <strong>KB Moods </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>11. <strong>Postludium </strong>(Kompositör: Andreas Henningsson och Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p>

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness.