abstract: Although music is regarded as a universal language, it is rare to find musicians of different ages, ability levels, and backgrounds interacting with each other in collaborative performances. There is a dearth of mixed-ability-level wind band and string orchestra repertoire, and the few pieces that exist fail to celebrate the talents of the youngest and least-experienced performers. Composers writing music for school-age ensembles have also been excluded from the collaborative process, rarely communicating with the young musicians for whom they are writing. This project introduced twenty-nine compositions into the wind band and string orchestra repertoire via a collaboration that engaged multiple constituencies. Students of wind and string instruments from Phoenix’s El Sistema-inspired Harmony Project and the Tijuana-based Niños de La Guadalupana Villa Del Campo worked together with students at Arizona State University and composers from Canada, Finland, and across the United States to learn and record concertos for novice-level soloists with intermediate-level accompaniment ensembles. This project was influenced by the intergenerational ensembles common in Finnish music institutes. The author provides a document which includes a survey of the existing concerto repertoire for wind bands and previous intergenerational and multicultural studies in the field of music. The author then presents each of the mixed-ability concertos created and recorded in this project and offers biographical information on the composers. Finally, the author reflects upon qualitative surveys completed by the project’s participants. Most the new concertos are available to the public. This music can be useful in the development and implementation of similar collaborations of musicians of all ages and abilities. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Este trabalho busca mensurar os efeitos do compartilhamento de arquivos na internet sobre o mercado de shows, importante canal de remuneração para músicos. São utilizados dados retirados do Guia da Folha, uma das principais publicações especializadas em cultura na cidade de São Paulo. A especificação principal adota um estimador de diferença em diferenças tendo shows como grupo de tratamento e peças teatrais como grupo de controle. As estimações indicam que a pirataria provocou um choque positivo de oferta, reduzindo os preços de ingressos em até 8,2% e aumentando a quantidade em 14 apresentações por semana. Além disso, a capacidade média foi reduzida, e a diversidade de apresentações e de casas de show aumentou. Esses resultados apontam para a ocorrência de um processo de pulverização do mercado, onde artistas menores fazem shows menores e mais baratos. Artistas muito famosos, entretanto, subiram os preços em torno de 10% e reduziram em até 2,5 o número de apresentações semanais / This dissertation measures the effects of file-sharing on the market for music concerts, an important source of income for most musicians.We use information published by Folha de São Paulo, one of the most popular Brazilian newspapers. The main analysis consists of using a differences-in-differences estimator with music concerts as treatment group and theatrical plays as control group.We find evidence that music piracy had a positive effect on the supply of concerts with an up to 8.2% reduction of ticket prices and an increase of 14 weekly performances.We also find a decrease in the mean capacity of venues; an significant increase in the variety of music venues and of unique musicians performing. These results indicate an increasingly competitive market with less popular musicians performing at lower prices for smaller audiences. Famous musicians however have risen ticket prices up to 10% and reduced their number of concerts at around 2.5 weekly performances

No abstract available. Accompanies the compositions of Thunderbird : twee bedrywe, Arabia : konsert vir klavier en orkes; Vyf miniature vir klarinet (b-mol) en kitaar; Vyf toonsettings van Afrikaanse liefdesgedigte vir sopraan en strykkwartet, DMus thesis, kept in the music Library, as well as the Special Collection Section of the Merensky Library (level 5). / Thesis (D Mus (Komposisie))--University of Pretoria, 2007. / Music / unrestricted

Clara Wieck Schumann’s 1836 Piano Concerto Op. 7 represents an era of radical formal experimentation in the early nineteenth century. As such, critics including Robert Schumann questioned its unity, thus prompting late twentieth-century scholars to reassess both its departures from tradition and its cohesive mechanisms. I propose that the concerto’s formal innovations are a result of Wieck’s decision to construct a tripartite work from her autonomous Concertsatz, which became the Finale after the addition of a first and second movement. This study uses William Caplin’s theory of formal functions and Steven Vande Moortele’s theory of two-dimensional sonata form to examine how Wieck complemented the independent Finale with a formally divergent first movement, which facilitates the projection of an overarching sonata form spanning the entire work. In doing so, this study produces a model to assess the concerto’s internal logic.

Hlavním tématem práce je problematika plánování a řízení projektů v oblasti IS/ICT projektů. Tato oblast se poměrně dynamicky vyvíjí a vznikají nové přístupy k řízení a plánování projektů. Hlavním cílem práce je porovnat několik standardně používaných metod s jednou z novějších metod ? Kritický řetěz. Zároveň je snaha přiblížit softwarový produkt, který je na základě této metody založen a podporuje řízení projektů pomocí této metody. Práce je situována do reálného prostředí a srovnává dané metody na reálném projektu implementace IS/ICT projektu. Práce je rozdělena do několika částí. První popisuje daný projekt. Ukazuje výchozí stav a problémy, které by měl projekt vyřešit. Také popisuje cílový stav a činnosti, které je nutné vykonat, aby ho bylo dosáhnuto.Druhá část je teoretické zázemí, které popisuje jednotlivé metody. V další části je samotná aplikace metod při plánování projektu. Předposlední část se věnuje průběhu projektu a ukazuje, jak se projekt vyvíjel. Tato část je doplněna reporty z jednotlivých softwarových nástrojů. V poslední části jsou zhodnoceny jednotlivé metody a na základě toho přijaty závěry, jaké postupy je při plánování a řízení IS/ICT projektů dobré přijmout.

The Yellow River Piano Concerto was adapted from the famous Yellow River Cantata, a grand choral work composed by Xian Xinghai in 1939, during the Japanese invasion of China. It is a very famous and important work in China and exhibits strong nationalistic characteristics. The Cantata inspired the entire Chinese nation during their defense against the largest and most brutal genocide in human history. It has since become a symbol of heroism and solidarity of all Chinese people around the world. The Yellow River Piano Concerto was composed by a group of Chinese composer-pianists in 1969 led by Yin Chengzong. All the biographies of the composers of both the Cantata and the Piano Concerto are supplied in this dissertation. The Piano Concerto consists of four movements: The Song of The Yellow River Boatmen, Ode to the Yellow River, The Wrath of the Yellow River and Defend the Yellow River. Each movement has been analyzed in terms of structure. Music examples are provided to assist in the understanding of the work. / Dissertation (MMus (Performing Art))--University of Pretoria, 2008. / Music / unrestricted

Includes bibliographical references / Philip Glass is best known for his role in the establishment of the 1960s minimalist movement, which was characterised by an extensive reduction of musical means. Since the mid-1970s, the composer has adopted a richer, more complex musical language, and distanced himself from the minimalist label. Academic scholarship on the composer's more recent compositions is severely limited, with the result that he is often still viewed as a minimalist. This dissertation's focus is on a more recent work by Glass, the Tirol Concerto for Piano and Orchestra (2000), and thus seeks to contribute to our knowledge of the composer's more recent stylistic development and the extent to which it is minimalist. The research approach entails compositional analyses of the concerto's second movement from both literary and theoretical perspectives. The movement's conception, its background and factors that had an influence on its compositional content are explored through literature studies. This is followed by theoretical investigations of its musical characteristics through the application of functional harmonic analysis and neo-Riemannian theory. Findings from the research provide evidence that the composition's title stems from the 'Tyrolean character' that was requested by its commissioners. However, relations between the movement and the film The Truman show (1998) challenge the composer's affirmations of a Tyrolean folk-song basis. Musically, the movement consists of a simple, repetitive structural and harmonic framework that undergoes superficial variations through melodic, textural and rhythmic changes. Transformational coherence within a functional structure is an essential component of the movement's harmonic content. This dissertation concludes that the piece contains musical characteristics consistent with all of Glass's stylistic periods, including minimalism, as well as new compositional devices that have not been identified previously. It recommends further study of the composer's more recent output , especially through transformational perspectives, and a reconsideration of the ontology and appropriateness of stylistic labels such as minimalism.

The purpose of this dissertation is to analyze Concerto No.3 "Ave Maria" by Alemdar Karamanov (1934-2007) and to elucidate the work through historical background and the composer's ideas. This concerto is presented as a significant gesture of dramatic emotion, religious belief, romantic spirit and universal feeling. The subtitle "Ave Maria" relates to a set up already present within the music program. An analysis of interval relationships will help performers better realize Karamanov's music language. In view of the complicated nature of this piece, an analytical study is considered necessary. The study centers principally on analysis, with an emphasis on the developments of form, tonality and motives to help performers better understand the work, and how to best approach this concerto.

Wladimir Vogel's (1896-1984) interest in twelve-tone composition began to develop in 1936 after hearing a series of lectures by Willi Reich, a music critic and supporter of the new music of the Second Viennese School. The transition for Vogel from a large-scale orchestral “classical” style, influenced by his study with Ferruccio Busoni in Berlin in the early 1920s, to a new technique involving dodecaphony is apparent in his instrumental writing, the third and fourth movements of the Konzert für Violine und Orchester (1937), as well as in his vocal writing, the Madrigaux for mixed a cappella choir (1938/39). Vogel's twelve-tone works exhibit tertian structures which are particularly emphasized by triads located as consecutive pitches within the rows. Emphasis on tertian structures are not limited to small-scale segmentation of the rows but can also be seen in the structural and tonal organization of complete movements and works. A primary example is the Konzert für Violoncello und Orchester (Cello Concerto) (1955) in which, on a smaller scale, the presentation of the row emphasizes both diminished and minor triads, and at the macro level, the structural triadic relationships unify passages within individual movements as well as the concerto as a whole. Since the work is composed using the twelve-tone method, consideration is given to the structure of the serial components. In addition, the concerto is analyzed in terms of its cognitive features-those elements that are demonstrably related to traditional practice- such as tertian melodic/harmonic outlines reinforced by rhythmic features that are common to eighteenth- and nineteenth-century practice. The compositional features evident from the serial structure of the work are addressed in conjunction with references to traditional practice made evident through the serial technique. The findings in the analysis of the Cello Concerto support the argument that the inclusion of consonant sonorities and tertian structures in Vogel's works results in a certain degree of tonal coherence while the large-scale compositional framework is dodecaphonic.

Jon Christopher Nelson’s Fantasies and Flourishes: An Interactive Concerto for Disklavier and Orchestra (1995) is the first interactive work to present the Disklavier as the solo instrument in a concerto with orchestra. The purpose of this study is to provide an analysis of Fantasies and Flourishes and advice on how to successfully present it in performance. Fantasies and Flourishes reveals the composer’s interest in the music of Elliot Carter, in particular his A Symphony of Three Orchestras. The entire work is based on the two all-interval tetrachords also used by Carter; in Fantasies and Flourishes, these tetrachords are combined to form seven octachords that are used in various manipulations. The Disklavier is an acoustic piano that can be played by a performer, can play by itself, or can be controlled by a computer program. In interactive works for Disklavier, a pianist plays on the Disklavier while the Disklavier plays by itself, much like if a pianist were to play on a player piano while the piano was also playing by itself. However, in interactive Disklavier music the pianist’s performance affects what the Disklavier plays; particular notes in the piano part trigger the Disklavier’s music. Chapter I provides an introduction to the dissertation and background on the composition. Chapter II gives a formal analysis of the work, with focus on the composer’s use of musical constraints to delineate form. Chapter III supplies information that will help a pianist to prepare for a performance of the concerto and includes discussion of extended techniques used in performance. Chapter IV gives a detailed discussion of Max, the computer program used to control the Disklavier. Analysis and description of the computer program give the performer insight into how the Disklavier’s music works, especially for algorithmically-composed sections that vary between performances. A chart is provided that details information regarding each trigger that the performer must play in order for the Disklavier to function properly.