published_or_final_version / abstract / Humanities / Master / Master of Philosophy

published_or_final_version / abstract / Music / Doctoral / Doctor of Philosophy

by Lee, Lo Ping Arthur. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997. / Chapter (1) --- "Two Bagatelles for Violin, Cello and Piano (1995)" / Chapter (2) --- "Three Scenes for Flute, Oboe, Clarinet in B-flat, Horn in F, Bassoon and Piano (1996)" / Chapter (I) --- "Introspection (for Flute, Oboe, Clarinet in B-flat, Horn in F and Bassoon)" / Chapter (II) --- Monologue (for Flute Solo) / Chapter (III) --- "A Mental Walk (for Flute, Oboe, Clarinet in B-flat, Bassoon and Piano)" / Chapter (3) --- """ Dies irae"" for Soprano solo, SATB chorus and Orchestra (1997)"

This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process. / Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and compression in order to explore the audio codec metaphor. / Volume two is the full score of Codecs, a work for large ensemble and live electronics. It is comprised of three sections and has a duration of approximately 14 minutes. The work is scored for flute (doubling on piccolo), oboe, clarinet in Bb (doubling on bass clarinet), bassoon, horn in F, trumpet, trombone, tuba, string quintet and percussion. Electronic drum pads and captured live sounds are used to control the live electronic elements.

No description available.

Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2. / submitted by Tang Pan-hang Benny. / Thesis submitted in: December 1997. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract --- p.i / 摘要 --- p.ii / Acknowledgment --- p.iii / Declaration --- p.iv / Introduction --- p.1 / Trombone Concerto (first movement) --- p.2 / Programme notes --- p.3 / Remarks --- p.5 / Instrumentation --- p.6 / Seating Plan --- p.7 / Scores --- p.8 / Post-Zero 零後 --- p.56 / Introduction --- p.57 / Programme notes --- p.57 / Performance direction --- p.61 / Instrumentation --- p.62 / Seating plan --- p.62 / Scores --- p.63 / "Trio for Flute, Violin and Cello No.2" --- p.144 / Programme notes --- p.145 / Performance direction --- p.145 / Scores --- p.146 / Biography --- p.159 / Music Works List --- p.160

Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra. / Yang Jin Fong. / "June 2004." / Thesis (D.Mus.)--Chinese University of Hong Kong, 2004. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

by Jerry M. Cain / Typescript / Includes complete vocal and instrumental scores of 2 liturgical motets and 3 sacred concertos of the early 17th century transcribed into modern notation / For mixed voices and/or instruments / M.M. Florida State University 1994 / Compositions LE45-48, 143 in Levoča Ms. Mus. 13993; ms. of German composers, copied in organ tablature by Johannes Schimbraczky / Includes bibliographical references / Score texts in German and Latin; 2 scores are without text