181 |
Systematic Composition and Intuition in a Concerto for Organ and OrchestraWorlton, James Timbrel 08 1900 (has links)
Historically, composers have used methods in addition to inspiration in writing music. Regardless of the source materials they used, composers ultimately rely on their musical sensitivity to inform the compositional decision-making. Discuses the rotational aspects of decimals that are created from certain prime-number denominators, and focuses on the prime number 17. Shows how these decimals can be transformed by converting them to different number bases. Looks at the Golden Proportion and its use in creating formal structures. Examines compositional and aesthetic issues arising from using number series to generate the pitches, rhythms, and sections in the Concerto for Organ and Orchestra. This process of composition reveals musical gestures that may not have been discovered using more intuitively based approaches to composition. Shows how musical sensitivity was necessary in shaping the numerically derived material in order to create aesthetically satisfying music.
|
182 |
Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis and Performance ConsiderationsTan, Wann-Dar 08 1900 (has links)
The purpose of this dissertation is to provide an introduction to the composer, Lawrence Weiner, and to his Concerto for Guitar and Orchestra, one of the many neglected guitar concerti that merits closer study and more frequent performances. Weiner, a prolific and prominent composer in the South Texas region, composed the concerto in 1986. The concerto was never published. This dissertation is the first attempt to study Weiner's Concerto for Guitar and Orchestra to date. This study provides insight into the compositional style of Weiner, and the understanding and performing of this work. The compositional language of this concerto is examined through an analysis of the aspects of form, harmonic/tonal scheme and thematic development. A performance edition and suggestions that are approved by the composer are also presented.
|
183 |
An Analysis of Joseph Schwantner's Concerto for Percussion and OrchestraHart, Shawn Michael 12 1900 (has links)
This analysis of Schwantner's Concerto is focused primarily on the pitch organization within the work, using terminology and concepts borrowed from those designed by Allen Forte in The Structure of Atonal Music. Discussion of pitch sets, their use, their derivation, their intervallic content, and their evolution throughout the piece are discussed. Additional discussion regarding Schwantner's style, orchestration techniques, textural manipulation with regard to form, are also discussed. Sources consist of the orchestral score, the two - piano reduction, and the solo percussion score. This document is in six chapters. The first discusses Schwantner's life and general musical style. The second is a brief discussion of terms in the field of pitch set organization. The third, fourth, and fifth chapters discuss in detail the musical materials themselves in each respective movement. Finally, the sixth chapter is a summary of the findings from the analysis.
|
184 |
Richard Strauss: The Two Concertos for Horn and OrchestraGreene, Gary A. 01 July 1978 (has links)
A study of Richard Strauss' two concertos for horn.
|
185 |
The City, The Girls, The Composer…The Phenomenon: Influences on the Performance of Vivaldi’s Bassoon Concertos at The Ospedale della PietàDuda, Cynthia M. 05 October 2009 (has links)
No description available.
|
186 |
Words, Music, and Ethnic Elements in Srul-Irving Glick's I Never Saw Another Butterfly, a Lecture Recital, Together with Three [i.e. four] Recitals of Selected Works of J.S. Bach, S. Barber, J. Brahms, A. Vivaldi, G. Fauré, G. Finzi, H. Duparc, M. Mussorgsky and OthersEvelyn, George E. (George Elbert) 12 1900 (has links)
The lecture recital was given on August 12, 1981. The discussion of Glick's i never saw another butterfly consisted of an analysis of the four songs followed by their performance. In addition to the lecture recital, four other public recitals were given; three of solo literature for voice and piano and one of vocal chamber literature.
|
187 |
Concertino for OrchestraSchimmel, David M. 08 1900 (has links)
Concertino consists of two movements, Paean and Dithyramb, either of which may be performed independently. Paean, a work of calm and majestic intensity, is characterized by a rhythmic pulse which is more consistently regular than that of the Dithyramb. Its three major sections form an arch, the final measures (mm. 87-95) returning to the material of the opening (mm. 1-14). The first section begins quietly, Maestoso ma sostenuto, in a very slow tempo. The activity and intensity increase until a brief, more active middle section begins in a faster tempo (Ancora piu mosso, m. 55). A fff climax (m. 63) begins in the third section (Tempo I). After a brief poco piu mosso (mm. 72-81), the opening tempo is restored (m. 82), the opening material returns (m. 87) and the final chord fades away. Dithyramb is a free and dramatic movement in which the musical material of the wind group usually contrasts with that of the string group. The piano, which has its own material, occasionally takes on the character of one group or the other as though mediating the conflict.
|
188 |
Concerto for orchestraDriscoll, Donald Clifton 01 January 1962 (has links) (PDF)
This is a musical score written in completion for a master of music.
|
189 |
L.U.K.L.O.V.: concerto pour pianoPatch, Marc January 1991 (has links)
No description available.
|
190 |
Portfolio of music compositions.January 1998 (has links)
Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2. / submitted by Tang Pan-hang Benny. / Thesis submitted in: December 1997. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract --- p.i / 摘要 --- p.ii / Acknowledgment --- p.iii / Declaration --- p.iv / Introduction --- p.1 / Trombone Concerto (first movement) --- p.2 / Programme notes --- p.3 / Remarks --- p.5 / Instrumentation --- p.6 / Seating Plan --- p.7 / Scores --- p.8 / Post-Zero 零後 --- p.56 / Introduction --- p.57 / Programme notes --- p.57 / Performance direction --- p.61 / Instrumentation --- p.62 / Seating plan --- p.62 / Scores --- p.63 / "Trio for Flute, Violin and Cello No.2" --- p.144 / Programme notes --- p.145 / Performance direction --- p.145 / Scores --- p.146 / Biography --- p.159 / Music Works List --- p.160
|
Page generated in 0.0149 seconds