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The Global ETD Search service is a free service for researchers
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Showing 1 to 8 of 8 (0.123 seconds)Spelling suggestions: "subject:"chamber music -- aanalysis, appreciation."" "subject:"chamber music -- 2analysis, appreciation.""
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A discussion of the compositions of Boyde HoodHood, Boyde January 1968 (has links)
There is no abstract available for this thesis. / School of Music
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Time fields : chamber concerto #3 for fifteen instruments / Time fields : chamber concerto #3 for fifteen instruments (2004)Baker, Robert A., 1970- January 2004 (has links)
Time Fields: Chamber Concerto #3 for fifteen players (2004) is a composition for five woodwinds, three brass, one percussionist, piano, string quartet and double bass with an approximate duration of 14 minutes. This work addresses the nature of musical time and its role in the organisation of the large-scale structure of the piece. Four differing states of musical time, which I refer to as Temporal Textures (Static, Obscure, Temporal Counterpoint and Clear), are employed in particular alternations to form a single movement work in four distinct sections.
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Time fields : chamber concerto #3 for fifteen instrumentsBaker, Robert A., 1970- January 2004 (has links)
No description available.
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A Conductor's Guide to Harrison Birtwistle's Entr'actes and Sappho FragmentsJang, Hyeyoun 08 1900 (has links)
Entr'actes and Sappho Fragments (1964) by English Composer Harrison Birtwistle represent extended notation, complex meters, and extended instrumental techniques. After World War II, the style and techniques of musical composition evolved considerably and musical trends began to continuously change. Conducting contemporary compositions requires new approaches in conducting methods. This paper examines a) introduce important elements of Birtwistle's compositions in the 1960, b) include an updated score of Entr'actes and Sappho Fragments (notated by the author), and c) provide a performance guide to the work.
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Benjamin Britten's Neglected "Gemini Variations," Op. 73 and Its Place in the Chamber Music RepertoireGibb, Charles, 1991- 05 1900 (has links)
In 1964, Benjamin Britten met the multi-instrumentalist twins Zoltán and Gábor Jeney while traveling in Budapest. At their behest, Britten composed Gemini Variations: Twelve Variations and Fugue on an Epigram by Kodály, a work which exploited the brothers' abilities on multiple instruments: Zoltán on flute and piano, and Gábor on violin and piano. In foreseeing the difficulties of programming this work, Britten simultaneously arranged a version for four players: flute, violin, and four-hand piano, eliminating the need for switching instruments. Despite this arrangement, as well as a very public and highly anticipated premiere at the Aldeburgh Festival in 1965, Gemini Variations has remained neglected by performers and scholars alike. This document serves to 1) promote a work that can justifiably be considered as part of the chamber music repertoire involving flute; 2) advocate for its musical merit and appropriateness for chamber music concerts made up of more traditional groups of players; 3) compare the two-player and four-player versions Britten wrote; and 4) explore the likely reasons why a piece by one of the most celebrated composers of the twentieth century has remained largely ignored for over fifty years.
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Let Music Speak Day and Night: A Performance Guide for George Enescu's "Impressions D'enfance for Violin and Piano"Huang, Chenshayang 12 1900 (has links)
In the world of chamber music, programmatic suites are more rarely composed and consequently more rarely presented in recital than other musical forms. Perhaps partially for this reason, George Enescu's Impressions d'enfance for violin and piano, his last chamber piece written in the tumultuous year of 1940, has been overlooked for a long time; even the composer himself did not make a recording of this seldom performed piece. This dissertation examines Impressions d'enface in order to explore the relationship between the underlying Romanian folk rhythmic and melodic patterns, to provide an analysis, as well as to serve as a performance guide to assist performers in surmounting the technical challenges and thus create a more effective ensemble. I hope this dissertation will encourage more duos to experiencing the joy of George Enescu's richly fulfilling Impressions d'enfance for themselves.
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A National Idiom Universally Understood: Brazilian Tradition and Personal Evolution in Osvaldo Lacerda's "Variações e Fuga para quinteto de sopros"Leffler, Hannah 08 1900 (has links)
The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.
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Pedagogical Applications in the Clarinet Quartets of Yvonne DesportesRice, Katie (Kathryn Elizabeth) 08 1900 (has links)
Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.
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