Made available in DSpace on 2015-05-14T12:52:25Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4782954 bytes, checksum: 0e9b1c26253c1035c620d5c9470c1f33 (MD5) Previous issue date: 2011-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This researsh analyses the participation of the electric guitar in the work Gruppen für drei orchester of the German composer Karlheinz Stockhausen. The work is subdivided in three chapters. The first deals history aspects of the instrument and its use in the avantgarde concert music of the twentieth century, featuring a selection of works of the most important composers of this aesthetics, in which the electric guitar participates. In the second chapter, the focus are the general aspects related to the work and the composer, in addiction to a deepening in the pre compositional plan of Gruppen and in the group composition technique used in the work; on this the first three groups of the work are analyzed. In the third chapter, we have selected the groups in which the electric guitar is present, examining the serial context of the work, based on the main parameters instrumentation, pitchs, rhythm, articulations an dynamics, them including an explanation about the idiomatic use of the instrument in fostering of the groups sounds, and the exposure of a typing model of the electric guitar score for entire the work. / Esta pesquisa analisa a participação da guitarra elétrica na obra Gruppen für drei orchester do compositor alemão Karlheinz Stockhausen. O trabalho está subdividido em três capítulos. O primeiro aborda aspectos históricos do instrumento e seu uso na música vanguardista de concerto do século XX, apresentando uma seleção de obras dos compositores mais importantes desta corrente estética, nas quais a guitarra elétrica participa. No segundo capítulo, o foco são os aspectos gerais relacionados à obra e ao compositor, além de um aprofundamento no plano pré-composicional de Gruppen e na técnica de composição por grupos utilizada na obra; neste, os três primeiros grupos da peça são analisados. No terceiro capítulo, são selecionados os grupos onde a guitarra elétrica está presente, examinando-a dentro do contexto serial integral da obra, baseado nos principais parâmetros - instrumentação, alturas, ritmos, articulação e dinâmica , além de uma explanação sobre o uso do idiomatismo do instrumento em favorecimento da sonoridade dos grupos, e da exposição de um modelo de digitação da partitura da guitarra elétrica de toda a peça.

abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement. / Dissertation/Thesis / Masters Thesis Music 2016

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-25T17:06:02Z No. of bitstreams: 1 arquivototal.pdf: 59847296 bytes, checksum: c986a87278ba6919e1c3ca6066356966 (MD5) / Made available in DSpace on 2016-07-25T17:06:02Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 59847296 bytes, checksum: c986a87278ba6919e1c3ca6066356966 (MD5) Previous issue date: 2015-04-16 / Nowadays musical education has taken part of a diversity of themes and points related to multiple contexts of music formation that constitute the contemporaneous society. In this universe the studies about popular music has gotten place and projections which shows singularities that is a part of the musician’s formation who will deal with this phenomenon. Inside of these studies has appeared a diversity of researches about teaching and learning the electric guitar, an instrument which has a strong insertion in the scene of the popular music since the middle of the 20th century. So, the purpose of this work is to comprehend the mainly demands of the learners from the UFPB Music Course and also in which ways they are engaged with the proposals and the musical pedagogical practice of these courses. The study was realized in the basis of an approaching qualitative research that observed collected data like bibliographical and documental researches, interviews, observations. Furthermore, it was used a questionnaire which is more suitable in quantitative researches, a fundamental tool to achieve the purposes of this work. From the results it is possible to affirm that the UFPB Guitar Courses give to the students new perspectives to perform and new discovering to continue and develop their practice like a musician. However it is clear that there is a big difference between the proposals of the pedagogical projects of the courses and the expectations and demands of the learners, not just this, the directed formation for the singularities of popular music and the electric guitar. / A área de educação musical na atualidade tem contemplado uma diversidade de temas e de questões relacionadas aos múltiplos contextos de formação em música que constituem a sociedade contemporânea. Nesse universo, os estudos acerca da música popular têm ganhado espaço e projeção, apontando para singularidades que permeiam a formação do músico para lidar com tal fenômeno. No âmbito desses estudos, têm emergido uma diversidade de pesquisas sobre o ensino e aprendizagem da guitarra elétrica, instrumento que tem forte inserção na cena da música popular desde, pelo menos, a segunda década do século XX. Considerando esse contexto, este trabalho tem como objetivo discutir e analisar as interrelações entre as principais demandas do corpo discente e a proposta pedagógico-musical dos cursos de guitarra da UFPB. O estudo foi realizado como base em uma abordagem qualitativa de pesquisa, contemplando instrumentos de coleta de dados como: pesquisa bibliográfica, pesquisa documental, realização de entrevistas e observação participante. Além disso, foi utilizado também o questionário, instrumento mais característico da pesquisa quantitativa, mas fundamental para alcançar os objetivos propostos para a pesquisa realizada. A partir dos resultados obtidos é possível afirmar que os cursos de guitarra da UFPB têm propiciado ao estudantes novas perspectivas de atuação e novas descobertas para a continuidade e aperfeiçoamento de sua prática como instrumentista. Todavia, fica evidente que há, ainda, certo descompasso entre a proposta dos projetos políticos pedagógicos dos cursos e as expectativas e demandas dos discentes, sobretudo no que tange a uma formação mais direcionada para as singularidades da música popular e do instrumento guitarra.

Orientador: José Eduardo Ribeiro de Paiva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T07:57:29Z (GMT). No. of bitstreams: 1 Rocha_MarcelEduardoLeal_D.pdf: 1511252 bytes, checksum: 31cce2dc1a1f22d0663cd62cde894493 (MD5) Previous issue date: 2011 / Resumo: A guitarra elétrica é um instrumento musical que nasceu das tentativas de se aumentar a projeção sonora de instrumentos como o violão, a guitarra havaiana e a guitarra acústica archtop. As primeiras guitarras elétricas foram guitarras havaianas e archtops às quais foram instalados captadores magnéticos que enviam informações sonoras para um aparelho que ficou conhecido como amplificador. Dessa maneira, uma guitarra elétrica apenas se efetiva como instrumento musical na total acepção dos termos quando está conectada a um amplificador. Com o passar dos anos o amplificador passou a também processar o som através de equalizadores, reverberadores e do efeito de tremolo. Esses tipos de processamento sonoro passaram a ser oferecidos em aparelhos externos que deram origem aos pedais de efeito sendo criada assim a rede de interfaces característica da guitarra elétrica, na qual o músico atua, além da interface de seu instrumento e de seu amplificador, com as interfaces destes outros aparelhos adicionais. Portanto, a guitarra elétrica já nasceu como instrumento musical tecnológico no sentido de estar sempre em evolução, podendo ser conectada a um número cada vez maior de artefatos de tecnologia. A partir disso, cada músico pode montar a sua rede de interfaces de maneiras completamente diferentes e particulares, com o intuito tanto de estabelecer seu timbre pessoal quanto de escolher os equipamentos e interfaces que melhor se adaptam a sua técnica musical. Devido a essa natureza, o músico deste instrumento necessita exercer, além da técnica musical propriamente dita, a técnica tecnológica, que consiste na atuação sobre esses equipamentos tecnológicos, programando seus parâmetros de acordo com a situação musical em que esteja atuando. O presente trabalho visa investigar as diferentes maneiras que cada músico faz uso desses artefatos tecnológicos como seus meios expressivos no contexto do mercado musical pop, e que tipos de resultados diferentes obtêm como sua expressão artística. Para tanto, são apresentadas e analisadas as tecnologias que lhe foram colocadas à disposição ao longo da história evolutiva da guitarra, com especial ênfase à contemporânea tecnologia da simulação de equipamentos e instrumentos / Abstract: The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software / Doutorado / Doutor em Música

Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T08:52:08Z (GMT). No. of bitstreams: 1 Zafani_JoseTadeuDutra_M.pdf: 1521384 bytes, checksum: d4a69db7865b421e48a41970b8a89f5a (MD5) Previous issue date: 2014 / Resumo: Utilizando conceitos sociológicos de Pierre Bourdieu (1996,1998,2004) e Bernard Lahire (2002,2004,2010) e da sociologia da educação de Maria da graça Setton (2002, ,2007,2008, 2010, 2011,2012), o presente trabalho tem como objetivo esboçar o "retrato sociológico musical" de professores de guitarra, professores de violão e professores de ambos os instrumentos. Para isso, conectou-se o processo socializador pelo qual passou cada professor durante sua formação junto ao campo sociomusical em que atuam com suas formas particulares de agir, pensar, crer e perceber (disposições) os aspectos musicais no presente de seus respectivos trabalhos, tendo como principais eixos de investigação as respectivas práticas do ensino da guitarra e do violão e as possíveis relações didáticas entre os dois instrumentos e suas simultâneas atuações artísticas. Para obter as informações necessárias para a realização da pesquisa, foram realizadas entrevistas presenciais com doze professores, com qualquer trajetória musical, que se encaixaram no perfil da pesquisa. Observou-se que a forma de agir, pensar, crer e perceber o ensino de guitarra e violão se mostra como reflexo de uma construção social e musical através da qual os professores transitam, assim como a condição de emancipação e dependência didática, técnica ou artística da guitarra em relação ao violão aparece também como uma construção individual em busca de uma síntese pessoal das contradições entre os procedimentos específicos de cada instrumento, ou seja, a questão de dependência ou emancipação só se resolve intrinsecamente em cada indivíduo de forma única e pessoal e esta resolução é resultado de uma trajetória músico-social singular / Abstract: Using sociological concepts of Pierre Bourdieu (1996,1998,2004) and Bernard Lahire (2002,2004,2010) and concepts of sociology of education of Maria da Graça Setton (2002, ,2007,2008, 2010, 2011,2012), the present study aims outlining the "musical sociological portrait" of guitar teachers, eletric guitar teachers and teachers of both instruments. For this, it was connected the socializing process by which each teacher spent during his sociomusical field training in which they act, with their particular ways of acting, thinking, believing and perceiving (provisions) musical aspects of their work, having as main lines of investigation their practice of teaching acoustic guitar and eletric guitar and the relations between the two instruments and their artistic performances that may exist. To obtain the necessary information to conduct the survey, personal interviews were conducted with twelve teachers with any musical path and who matched the research profile. It was observed that the way we act, think, believe and realize teaching acoustic and eletric guitar is shown as a reflection of musical and social construction through which teachers transit, as well as the condition of didactical, technical or artistic emancipation and dependence of the electric guitar in relation to the acoustic guitar also appears as an individual construction in a search for a personal synthesis os contradictions between the especific procedures of each instrument. It equivalent to say that the question about the dependence or emancipation only is resolved inside each person in a unique and personal way and this resolution is the result of a singular musical and social trajectory / Mestrado / Fundamentos Teoricos / Mestre em Música

Orientador: Ricardo Goldemberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T13:54:34Z (GMT). No. of bitstreams: 1 Solti_Endre_M.pdf: 1385908 bytes, checksum: 8837f9ad693b4254e16313c234d43d49 (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é avaliar o ensino dos instrumentos guitarra elétrica e violão popular nas disciplinas de instrumento da licenciatura em música com habilitação em instrumento - modalidade à distância, oferecida pela Universidade Vale do Rio Verde (UninCor). Para isso, foi utilizado um estudo de caso, cuja finalidade foi fazer um levantamento de dados referentes ao ensino dos conteúdos improvisação e linguagem jazzística nas referidas disciplinas. Após a coleta dos dados, foi feita uma avaliação comparativa entre as gravações dos improvisos dos alunos enquanto cursavam o primeiro semestre com gravações dos improvisos desses mesmos alunos enquanto cursavam o último semestre. Apesar de os resultados terem sido satisfatórios quanto à evolução, uma análise mais profunda apontou para dificuldades maiores de aprendizagem de elementos musicais rítmicos ou de linguagem. Para explicar esses resultados, recorremos ao pressuposto teórico de John Anderson (1981), que divide a forma de assimilação de conteúdos em dois tipos de conhecimentos, os conhecimentos declarativo e processual, e ao pressuposto teórico de John Kratus (1996), que divide os níveis de improvisação que um músico improvisador pode alcançar em sete níveis. Através da teoria de Kratus, conseguimos entender que os resultados de dificuldade podem ser considerados como uma das etapas iniciais da apreensão de conteúdos, enquanto que resultados positivos são considerados como uma etapa final ou maturação desses mesmos conteúdos. Através da teoria de Anderson (1981), conseguimos entender que os conteúdos calcados no conhecimento processual apresentam maior dificuldade de assimilação, exatamente pelo fato de ser de difícil verbalização. Após o confronto da análise dos dados coletados com as teorias de apoio, concluímos que as dificuldades de aprendizagem estão presentes em ambas as modalidades, presencial e a distância, mas que se apresentam mais evidentes quando conteúdos práticos são ministrados via EaD. Mesmo assim, consideramos válido o ensino musical instrumental a distância, principalmente para a formação de professores, onde as exigências de ordem prático-instrumental podem ser menores se for previsto pelo curso alguma proficiência instrumental, ou se aproveitados os momentos presenciais obrigatórios da modalidade para atividades que privilegiem a prática de um instrumento musical / Abstract: The objective of this study is to evaluate the teaching of instruments and electric guitar popular guitar in the degree of instrument disciplines in music with instrument qualification - distance mode, offered by the University Vale do Rio Verde (UNINCOR). For this, a case study was used, whose purpose was to make a data collection for the teaching of improvisation and jazz language content in these disciplines. After collecting the data, it made a comparative evaluation between the recordings of the improvisations of the students were enrolled as the first half with recordings of the improvisations of these same students as were enrolled in last semester. Although the results were satisfactory with regard to evolution, a deeper analysis pointed to greater difficulty in learning rhythmic musical elements or language. To explain these results, we turn to the theoretical assumption of John Anderson (1981), which divides the form of assimilation of content in two types of knowledge, declarative and procedural knowledge and the theoretical assumption Kratus John (1996), which divides improvisation levels that an improvising musician can reach into seven levels. By Kratus theory, we understand that the results of difficulty can be considered as one of the initial stages of apprehension contents, while positive results are considered as a final step or maturation of these same contents. By Anderson's theory (1981), we understand that the footwear content on procedural knowledge are more difficult to assimilate, just because it is difficult to verbalize. After analysis of the data collected confrontation with the theories of support, we conclude that learning difficulties are present in both modes, face and the distance, but that present more evident when practical contents are taught via distance education. Still, we consider valid the instrumental music distance learning, particularly for teacher training, where the demands of practical-instrumental order may be lower if provided by the course some instrumental proficiency, or if harnessed the mandatory personal moments of the sport for activities that favor the practice of a musical instrument / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

El presente trabajo de investigación se basa en una propuesta de negocio en la industria de accesorios musicales dirigida a personas que toquen guitarra y bajo, y que se encuentren entre los NSE A, B y C en Lima Metropolitana. Para investigar y validar varios supuestos, se ha creado la marca “Mallku”, una empresa que diseña uno de los accesorios más conocidos, pero, a la vez, difícil de encontrar en el mercado, el pedalboard. Este accesorio sirve como una herramienta que ordena los pedales que usan guitarristas y bajistas, y permiten ahorrar tiempo al poder llevarlos ya armados a una grabación o al escenario. A partir de las primeras investigaciones, se validó que hay un gran potencial para desarrollar este producto, que el consumidor valora los artículos artesanales, y que aprecia que se utilice madera como insumo principal. Por otro lado, se pudo validar la aceptación del producto a través de las ventas realizadas en redes sociales, llegando a vender estos accesorios a miembros de bandas que están en crecimiento y que ya son relevantes para la escena local. Para la realización del proyecto se hicieron diversos análisis de la industria, los cuales involucran al consumidor, insights, competidores y otros factores externos que permitieron elaborar diferentes planes y determinar una estructura organizacional favorable para la viabilidad del mismo. Como resultado, bajo una inversión inicial de S/. 39,227.00, se obtiene una utilidad neta de S/. 31,158.00 para el primer año, S/. 24,077.00 para el segundo y S/. 23,105.00 para el tercero. / This research work is based on a business proposal in the musical accessories industry aimed at people who play guitar and bass, and who are between socioeconomic levels A, B and C in Lima Metropolitana. To investigate and validate many hypothesis, we have created “Mallku”, a business that designs one of the best known products in the industry, the pedalboard. This accessory works by helping organize the pedals that guitar and bass players use, and allows to save time when the users need to record or give a concert. From the first investigations, it was validated that there is great potential to develop this product, that the consumer values ​handmade items, and that appreciates that wood is used as the main input. On the other hand, it was possible to validate the acceptance of the product through sales made in social networks, selling these accessories to members of bands that are growing and that are already relevant to the local scene. For the realization of the project, various analyzes of the industry were made, which involve the consumer, insights, competitors and other external factors that allowed developing different plans and determining a favorable organizational structure for its viability. As a result, under an initial investment of S /. 39,227.00, we expect to obtain a net profit of S /. 31,158.00 for the first year, S /. 24,077.00 for the second and S /. 23,105.00 for the third. / Trabajo de investigación

Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredible postwar dynamism, especially when seen in the production, consumption, and stylistic development of music. Nevertheless, many of the radical departures in American music were contingent upon the contributions of a small group of inter-connected musical equipment manufacturers and musicians in California from the 1940s through the 1960s. As the United States experienced dramatic changes during the awesome postwar boom, Californian artists, merchants, and equipment makers exploited opportunities, making the Golden State the national trendsetter in musical developments both technological and stylistic. In particular, the invention, development, and further refinement of solid bodied electric guitars and basses in Southern California permanently changed how music would be made. The transformation of West Coast music would produce differing reactions nationally, while foreign developments would impact California, challenging its hegemony.

Användande av teknik har haft stor inverkan på hur musik låter och skapas. Elgitarren och dess tillbehör har möjliggjort för gitarrister att skapa ljud som inspirerar till kreativitet och vidareutveckling av speltekniker. Denna studie syftar till att undersöka och bidra med mer kunskap om hur lärare i elgitarr ser på att inkludera tekniskt medierade sound (TMS) i sin undervisning och vilka undervisningsstrategier de använder för att utveckla elevers musikaliska uttryck med TMS som hjälpmedel. Materialet samlades in genom enskilda kvalitativa forskningsintervjuer med tre lärare i elgitarr som i huvudsak undervisar på kulturskola. Analys av materialet gjordes med ett diskurspsykologiskt angreppsätt. Resultatet visar att TMS legitimeras genom instrumentkännedom för elever på nybörjarnivå och att TMS involveras mer i ensemble. Ämnet får större plats i instrumentundervisningen när elever utvecklat färdigheter på instrumentet till den nivån att undervisningen innehåller moment av improvisation, fördjupande genrekännedom och vidareutvecklande av spelteknik. Studien ger en inblick i hur undervisning kan se ut inom detta område som anses vara en betydande del i att spela elgitarr. / Use of technology has had a major impact on how music sounds and is created. The electric guitar and its gear have enabled guitarists to create sounds that inspire creativity and further development of playing techniques. This study aims to investigate and contribute knowledge about how electric guitar teachers view the inclusion of technologically mediated sound (TMS) in their teaching and which strategies they use to develop students' musical expression with TMS as an aid. The material was collected through individual qualitative research interviews with three electric guitar teachers who mainly teach at kulturskola. Analysis of the material was done using a discourse psychology approach. The result shows that TMS is legitimized through instrument knowledge for students at beginner level and that TMS is more involved in ensemble. The subject takes on a more significant role in instrument teaching when students have developed skills on the instrument to the level that the teaching includes elements of improvisation, in-depth genre knowledge and further development of playing technique. The study provides insight into what teaching can look like with this subject matter, which is considered a significant part of playing the electric guitar.

此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.