No description available.

Night of Glass is for chamber orchestra with an estimated performance time of 14 minutes. The instrumentation for the work, using one player per part, is Flute (also small glass wind chimes), Oboe (also 1 tuned water crystal), Clarinet in A (also small glass wind chimes), Bassoon (also 1 tuned water crystal), Horn in F (also 1 tuned water crystal), Trumpet in C (also 2 tuned water crystals), Percussion (Vibraphone, Glockenspiel, Chimes, Bell Tree, Hammered Dulcimer, 3 Suspended Cymbals, 1 Large Tam-tam, 4 Roto Toms, 3 Tympani), Piano, 1st Violin, 2nd Violin, Viola, Cello, and Double Bass, While not programmatic, the work is divided into six sections each expressing a predetermined emotional content: fragility, anxiety, solitude, fear, catharsis, and reconciliation. All are emotional contents which are found in the dream-state that is reflected in the work's title. All aspects of Night of Glass (i.e., pitch material, form structure, and structural density) are centered around the unifying factor of emotional projection within each section. The work seeks emotional content through the expansion of composition procedures while being accessible to listeners.

No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2004.

The Full Armor of God is a musical composition based on the apostle Paul's comparison in Ephesians 6:10-20 between armor for physical combat and armor for spiritual warfare. The instrumentation consists of the following: oboe/English horn, bassoon, two violins, viola, cello, and bass. Texts on Roman armor as well as commentaries and sermons on the scriptures were consulted for the basis of the musical materials. The piece combines imagery and historical associations with abstract renderings of both the physical and the spiritual.

Concentrate for Chamber Orchestra -- Music

Watership Down is a work for chamber orchestra in four movements, approximately sixteen minutes in duration. The piece is a programmatic work based on the novel Watership Down by Richard Adams; however, the musical action is not intended to be an aural narrative of the story but, rather, is meant to capture the general mood of the four sections of the novel. The work exhibits the influence of several styles of late nineteenth-century and early twentieth-century music with the symphonic poem being the genre it most closely resembles.

Ka is a one movement composition for chamber orchestra consisting of three sections. The work's harmonic, melodic and rhythmic materials are derived from the Chinese I Ching ("Book of Changes"). The middle section was composed with the aid of a computer program written by the composer. The program generated the interval sequence arrays forming the harmonic basis for the piece. Ka is scored for flute, oboe, B𝄬 clarinet, bassoon, French Horn, trumpet, trombone, three percussionists, violin, viola, cello and double bass. The score is 62 pages with a 39 page analysis preceding the score. Ka has a duration of approximately 10 minutes with no pauses between sections.

Promulgation is an interactive composition in which the orchestra and computer communicate through musical motives contained in the Command Motive Score. The musical content as well as the highly organized aleatoric environment is controlled by a system of probabilities. The orchestra is divided into four ensembles of dissimilar instrumentation. The music consists of several scores that are performed different ways. The first score is the Command Motive Score performed by the computer. The second is the Prelude Score performed by the orchestra. The third is the Continuum Score performed by the orchestra. The fourth is a group of scores called Auxiliary Scores performed by each respective ensemble. The fifth is another group of four scores performed by trumpet, cello, piano, and tuba.

by Lee Chui Ling. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1994. / Preface --- p.1 / Chapter I. --- Twinkling --- p.3 / Chapter i) --- Analysis-----Introduction --- p.4 / Chapter ----- --- Formal structure / Chapter ----- --- Musical elements / Chapter ii) --- Score (with performance notes) --- p.8 / Chapter II. --- Emancipation --- p.14 / Chapter i) --- Analysis 226}0ؤ Introduction --- p.15 / Chapter ----- --- First movement ~ Formal structure / Chapter ~ --- Orchestration / Chapter ----- --- Second movement ~Formal structure / Chapter ~ --- Harmony / Chapter ----- --- Third movement ~ Formal structure / Chapter ~ --- Musical elemets / Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25 / Chapter III. --- Once Upon a Time --- p.105 / Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106 / Chapter ----- --- Formal structure / Chapter ----- --- Scale / Chapter ----- --- Quotation / Chapter ii) --- Score (with performance notes) --- p.111

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