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A little-known seventeenth-century composer, Christopher Gibbons (1615-1676)Rayner, Clare G. Gibbons, Christopher, January 1900 (has links)
Thesis (Ph. D.)--Indiana University, 1963. / Typescript. Vita. Vol. 2 contains transcriptions of selected keyboard, instrumental ensemble, and secular and sacred vocal compositions of Christopher Gibbons. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 233-243).
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The fantasia in the works of John JenkinsWarner, Robert Austin, Jenkins, John, January 1951 (has links)
Thesis (Ph. D.)--University of Michigan, 1951. / Vol. 2 contains scores of ten fantasias "based upon the collation of all known manuscripts available." Cf. Foreword. eContent provider-neutral record in process. Description based on print version record. "A list of modern publications of Jenkins' Fantasias": v. 1, leaf 229. Includes bibliographical references (v. 1, leaves 230-242).
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The prayer of Daniel for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus /Gutierrez, Jason. January 2003 (has links)
Thesis (M.M.)--University of North Texas, 2003. / Chamber piece in oratorio style; chorus (TTBB). Text from Daniel 9:4-19. Duration: ca. 30:00. Includes bibliographical references (p. 43-45).
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The transmission of Qin music : the analysis of four versions of the composition Pingsha luoyan /Lee, Daphne. January 2002 (has links)
Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 86-99).
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A breath between : a double concerto for flute and violin with small ensemble /Greene, Adam. January 2003 (has links)
Thesis (Ph. D.--Music)--University of California, San Diego, 2003. / Vita. For flute and violin with ensemble of clarinet, violin, viola, violoncello, piano, oboe, bassoon, and double bass. Performance instructions precede score.
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Doctoral thesis recital (tenor)Raymond, Brad 14 June 2012 (has links)
Combattimento di Tancredi e Clorinda / C. Monteverdi -- On Wenlock Edge / R. Vaughan Williams -- Selections from L'elisir d'amore / G. Donizetti. / text
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Master's thesis recital (composition)Barkoskie, Alvez Theodore 18 June 2012 (has links)
Pedals, pipes, and percussion -- Ave Maria -- Nocturne and prelude, waltz and rumba. / text
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Incline, o maiden--Norman, James Duffy, 1980- 09 October 2012 (has links)
Incline, O Maiden is a large-scale work cast as a dramatic scene for mezzo-soprano and chamber ensemble. It is an exploration of space between music and drama, and the problems inherent in creating a single-character operatic scene. This paper, which serves as an accompaniment to the musical score, is a detailed analysis of the work and focuses on the ways in which form and recurring music motives are used to establish a dramatic conflict with only a single character. The libretto for this dramatic scene is extracted from the play, Faust: A Tragedy, by Johann Wolfgang von Goethe (1749-1832), written in 1808, with English translation by Bayard Taylor (1825-1878). This libretto is centered on the character of Margaret, an original addition to the Faust legend by Goethe, and is a depiction of her inner psychological turmoil as she becomes a willing victim of Faust's seduction. The story begins as Margaret has just met Faust and quickly becomes infatuated with him, and continues through the death of her mother. Composed as a single movement, this piece is divided into two major parts for each of the two sections of action in the libretto. Each major part is further divided into smaller formal sections that are supported and delineated by five major motives that serve as the vast majority of the musical material, and are at the forefront of each formal and dramatic division in the work. Recurring musical motives, sometimes known as leitmotivs, have a long history in opera dating back to Wagner, and in this work, explore how tradition is part of the modern creative process. In Incline, O Maiden, despite the absence of interplay between characters, and given the internal struggle at the heart of the libretto, an indelible link between the drama and music is made meaningful by the unified thematic nature of the music. / text
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Chamber concerto for tuba and thirteen playersMenoche, Charles Paul 27 April 2011 (has links)
Not available / text
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Observations about, around and beside Burrow out, burrow in, burrow musicArnold, Martin 24 July 2015 (has links)
Graduate
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