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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.

Concerto for Trumpet and Orchestra

Schaffner, Matthew Scott 08 November 2002 (has links)
Concerto for Trumpet and Orchestra (2002) is a three-movement composition for orchestra and solo trumpet. Each movement has a prominent theme, although there are themes that pervade the entire composition. The main element in the work is a two-note rhythmic statement. This two-note statement unifies the piece. Another prominent idea is a pitch collection of three consecutive minor seconds and their inversions. The first movement, Incipience, begins with a slow foreshadowing of the works main themes. Following the introduction is a quick fanfare that leads back to the opening material. A trumpet cadenza develops from the introductory ideas, which leads back to the fanfare section. Much of the second movement, Departure, relies on material from Leonel Powers mass Alma Redemtoris Mater. Two contrasting themes can be heard. The first is material from the Power mass, while the second theme is a polyrhythmic arpeggiation in a distantly related key. The juxtaposition of the two themes creates a polytonal effect. The last movement implements ideas from the first two movements. Resolve uses five varying sections that are used in an ABCDA´B´C´E form. The opening A section uses a call and response idea with a rhythmic cell providing the basic material. The B section is fugal, reminiscent of the first movements B section. One melodic theme permeates the C section, which develops material around that single melody. The D section is a cadenza which combines previous solo material from each movement. The composition returns to the very opening of the entire work in the E section, which uses ideas from the first movements opening statement.


Hilliard, John Stanley 01 January 1972 (has links)
This thesis statement presents an analysis and explanation of a music composition entitled: Magnificat. The full music score to the Magnificat may be found in the collection of the Music Department of the School of the Arts, Virginia Commonwealth University. The King James Version is the source for all of Biblical text. The presentation here of the text for the Magnificat corresponds to the manner it is introduced into the music score. Thus, the use of small case primarily to contrast those parts of the text of high volume intensity which are capitalized, and parallel text to show simultaneous reading.

Jazz band arranging : original big band arrangements

Byron, Jay M. 01 April 1999 (has links)
This paper examines five big band arrangements written during a period of two semesters from 1998-1999. I will provide an overview and performance considerations for each arrangement. Each arrangement uses common conventions such as unison lines, octave doubling, four and five part voicings, found in closed, semi-open, and open position. Approach techniques include diatonic, dominant, diminished, chromatic, and parallel. Choice was based primarily on two considerations: desired texture and the best voice leading options identified to provide each part with a swinging line and maintain melodic integrity. Other conventions applied include chord substitution, upper structure triads, and altered and diminished scales to provide harmonic contrast and color. Each arrangement supplied new challenges and the tunes selected provided the arranger with a diverse experience of styles. The inherent qualities of the melody and harmonic progression of each piece were the primary considerations for selection.

Piano Concerto

Wong, Kei Hong 29 September 2014 (has links)
This thirteen-minute concerto explores the concept of the "third-stream" style, a genre prevalent from the early twentieth century onward that explores the fusion of classical and the popular idioms. The piano writing, especially in the cadenza, is greatly influenced by George Gershwin's Piano Concerto in F, one of the most representative works in this style due to its jazzy syncopated rhythms and romantic pianistic writing. In addition to the traditional orchestral instrumentation, this piece includes several drum set solos, recalling some of the percussive passages from Leonard Bernstein's West Side Story, a musical theater work evoking jazz and Latin styles. This piece also draws influence from the contemporary group Bad Plus Trio, embracing the avant-garde jazz style apparent in 1972 Bronze Medalist from the album "These Are the Vistas."

Portfolio of compositions

Van Dijk, Peter Louis, 1953- January 2005 (has links)
Various pagings. Includes programme notes.

A portfolio of original compositions

Ryan, Damian January 2012 (has links)
No description available.

Composition portfolio /

Mayall, Jeremy. January 2006 (has links)
Thesis (M.Mus. Composition)--University of Waikato, 2006. / Also available via the World Wide Web.


Kong, Gilbert 10 November 2015 (has links)
STF is a large ensemble work in three movements: "Fatwa," "Hitchens," and "Albino Sex." It is scored for piano, double bass, cello, viola, violin, French horn, clarinet in Bb, bass clarinet in Bb, flute, baritone, tenor, alto, soprano, narrator, and electronics. Its underlying concept is how religious worldviews can collide with freedom of speech, atheism, and fundamental human rights. In extreme cases, zealots will interpret disease as evidence of divine intervention or even demand the death of blasphemers. The text in the first movement, “Fatwa,” expresses freedom of speech and incorporates passages from Salman Rushdie’s “The Satanic Verses.” The second movement, “Hitchens,” centers on atheism and incorporates two audio excerpts from Christopher Hitchens’s lecture at the 2009 Festival of Dangerous Ideas. In the final movement, “Albino Sex,” I construct a narrative using media headlines, paraphrased biblical verses, and my own text to depict the human rights crisis during the 1980s A.I.D.S. epidemic. Various organizational approaches to text and pitch distinguish one movement from the other; the three movements cohere through unifying devices that I draw from set theory.


Choi, Soh Young January 2012 (has links)
No description available.

Four Seasons after Haiku of Basho for Ensemble of Chinese Instruments and Spring Air and Winter Night for Dizi, Zheng and String Quartet

Chen, Jieru Janet January 2012 (has links)
<p>ABSTRACT</p><p>Four Seasons for Ensemble of Chinese Instruments: Dizi, Suona, Gaoying Sheng, Zhongyin Sheng, Percussion, Pipa, Zheng, Erhu and Zhonghu was created in 2012-2012. Loosely inspired by Basho's haiku, Four Seasons comprises four movements. </p><p>The composition is characterized by the application of Asian principles of heterophony and single tone timbre with the context of Western contemporary music. I explore for the first time the application of Chou Wen-chung's variable modes theory. In addition, Four Seasons are suggested by twelve I Ching hexagrams corresponding to the twelve months. </p><p>Each movement of Four Seasons features one soloist or small groups of soloists, as in concerto grosso. Setting up different instrumental combinations in four movements, the piece also uses timbre and sonority to depict the vivid colors of the four seasons.</p> / Dissertation

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