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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.
11

Six music compositions /

Koo, Chat-po, January 1992 (has links)
Thesis (M. Phil.)--University of Hong Kong, 1993.
12

Music composition and the computer : an examination of the work practices of five experienced composers /

Brown, Andrew Robert. January 2003 (has links) (PDF)
Thesis (Ph.D.) - University of Queensland, 2003. / Accompanying CD-ROM contains audio examples of composers studied. Includes bibliography.
13

Tracing a certain slant of light forming a personal philosophy and voice in music composition /

Josephson, Adam K. January 1900 (has links) (PDF)
Thesis (M.M.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Mark Engebretson; submitted to the School of Music. Includes bibliographical references (p. 26).
14

Musical machines driving algorithmic composition with chaotic equations /

Continanza, Christopher. January 2008 (has links)
Thesis (M.S.)--Villanova University, 2008. / Computer Science Dept. Includes bibliographical references.
15

Playing with technology an approach to composition /

McDonald, Iain. January 2007 (has links)
Thesis (MMus) - University of Glasgow, 2007. / MMus. thesis submitted to the Faculty of Arts, Department of Music, University of Glasgow, 2007. Includes bibliographical references. Print version also available.
16

Composition portfolio : ten compositions and commentaries

Mulvey, Grainne January 1998 (has links)
No description available.
17

Music composition and creative writing: exploration and application of frames in music and word

Chung, Fiona., 鍾雅妍. January 2007 (has links)
published_or_final_version / Humanities / Doctoral / Doctor of Philosophy
18

The development of original band scoring from Sousa to Husa

Summers, C. Oland 03 June 2011 (has links)
The purpose of this study was to determine selected scoring techniques of eighteen mainstream wind-band composers from John Philip Sousa to the present. The men were surveys conducted from 1950 through 1985. A master list of 576 wind-band composers was reduced to eighteen, following the criterion of three hundred or more recommendations of their individual works and a limitation that each composer had written at least three original wind-band compositions to qualify as an influential mainstream composer of that genre. selected by a synthesized preferential list of twenty-fiveData were gathered upon a comparative measurement of time, dividing each composition into the smallest common each instrument part in melodic, countermelodic, harmonic, bass-line, doubling, dynamics and solo material. Each composer was introduced in a brief biography, and the formal structure of his work was overviewed, followed by a review of the work as scored. Detailed analysis was made of score instrumentation, individual instrument usage, ranges anddenominator to determine performance percentages, assessing tessituras, choir and family grouping and voice usage, score density and texture, doubling practices and scoring of expression marks. Individual composition and comparative summaries were made.General conclusions drawn from the study were: (1) Compositions within three groupings, March King, English tradition, and American school band composers contains scoring similarities. American professional compositions differed among themselves and from the first three groupings.(2) Professional march composers scored heavily doubled melodies, parallel harmonic parts, counter melodies, vertical accompaniment parts and bass lines contrasted by high-low voices and woodwind-brass voices. Powerful middle ranges and tessituras with upper woodwinds produce brightness to the woodwind sonority. Accented passages were contrasted for relief from traditional loud block dynamic levels. (3) English tradition composers scored a more mellow sound against bright timbred trumpets and trombones. Modal melodies were scored in vertical and horizontal harmonies, with light voice densities. (4) American school band composers featured the clarinet section, with supporting, contrasting brasses. Scoring in middle ranges, cross-cueing with heavy doubling, thick voice densities and loud volume markings are abundant. (5) American professional tradition composers wrote in fragmented melodies over ostinatic patterns. Dissonance is contrasted with high/low tonal registers. Novel instrument combinations produce interesting timbres. Instrument parts become soloistic and orchestral. Ranges and tessituras are wider and contemporary special effects are used effectively. Representative works from different eras of wind-band composition provide great variety.
19

Discovering, creating and experiencing notions of theatricality in musical performance

Emfietzis, Grigorios January 2011 (has links)
This thesis consists of a portfolio of musical compositions and a written commentary. The submitted works creatively challenge the form of a conventional concert by exploring methods of bringing to the fore the theatrical side of musical performance: its inherited or implemented conceptual and visual aspects. The portfolio is divided into three main categories. The first comprises a series of pieces that balance between music theatre and conventional concert practices. The second category includes works that reform many aspects of the traditional concert presentation, without breaking away from it. The third category includes works that experiment within the territory determined by the previous categories. The written commentary presents theoretically the compositional approach used throughout the portfolio and provides a brief philosophical background, such as is necessary to explain the underlying concepts, ideas, preoccupations and concerns. It also contains a comprehensive analysis of the submitted works, their aims, contextual links, applied methodologies, associations with other composers’ works and interconnections between them.
20

A survivor's guide to hostile structures: the inception, enforcement, and confrontation of a musical dogma

Daverson, Steven January 2014 (has links)
No description available.

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