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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.
141

The Trio d'Anches as exemplified by three contemporary French composers

Townsend, David Michael, Townsend, David Michael January 1980 (has links)
The direct translation of the French title, trio d'anches, is simply trio of reeds. It consists of the standard reed instruments of the orchestra: oboe, clarinet, and bassoon. The main purpose of this study is to help the American reader appreciate and be more familiar with this unique and largely unknown chamber music genre. Unknown, because it is more represented in some countries of the world than in others, both in numbers of compositions and performers of these compositions. In France, for example, there are professional trios concertizing year around as well as faculty trios attached to most music conservatories. In the United States, however, there has been very little interest in this combination. The author will be discussing the contributions of some composers from other countries later in this document. Throughout this study, the author has chosen to refer to the trio of reeds as trio d'anches for two reasons. First, the French composers have been primarily responsible for the output of this group's music-- approximately 36% of the entire repertoire, with 17 countries represented. Second, since the French were the first to create this combination and write for it, the author has selected only French composers as examples. The pieces chosen cover a time period from 1897-1954. It is interesting to note that the most significant international increase in the composing, performing, and publishing of wind chamber music occurred in the 1930's and 40's. However, since that time virtually every combination, including the trio d'anches, has continued to be recognized with new and expansive compositions.
142

Variation techniques for harp in four original compositions

McLaughlin, Carol M., McLaughlin, Carol M. January 1979 (has links)
The practice of applying variation to a given musical statement is one of the oldest of musical concepts. Before written notation was developed, the aural transmission of musical ideas naturally involved some degree of personal interpretation and variation. Documented history of variations as a musical form begins in the sixteenth century when the variation was established as an important musical procedure which increased the length and expression of a musical idea. In The Technique of Variation, Robert Nelson distinguishes seven categories of variation types developed from the sixteenth to the twentieth centuries: 1. Renaissance and baroque variations on secular songs, dances, and arias. 2. Renaissance and baroque variations on plain songs and chorales. 3. The baroque basso ostinato variation. 4. The ornamental variation of the eighteenth and nineteenth centuries. 5. The nineteenth-century character variation. 6. The nineteenth-century basso ostinato variation. 7. The free variation of the late nineteenth and early twentieth centuries. Variation remains an important process in music in the twentieth century -- as a viable compositional technique, as a virtuosic showpiece for the concert stage, and as a basic element of jazz music, where ornamentation and variation are integral elements of improvisation. The theme and variations is particularly suited to the harp. Elements of the form, such as its sectional aspects, allow the exposition of many facets of the instrument in one composition. The harp is endowed with an outstanding capacity for tone color and interpretive effects. Certain techniques available only to the harp, such as the glissando, bisbigliando, and pedal slide can be incorporated into a theme and variation, presenting a vast range of interpretive possibilities. The following four variation works offer a comprehensive representation of Theme and Variations originally written for the harp: Tema con Variazioni, G. F. Handel; Variations on a Theme of Mozart, M. I. Glinka; Fantaisie pour Harpe sur un theme de Haydn, M. Grandjany; Variations sur un theme dans le Style Ancien, C. Salzedo. These works span a period from the early eighteenth century to the twentieth century, during which time many advancements were made in the construction of the harp and also in the development of harp technique. Themes and variations are extremely worthwhile for pedagogical purposes as well as for performance on the concert stage. Suitability of the form for the harp and the virtuosic nature of the works have made them an important part of the harp repertoire.
143

The derivations of Sere Liapunov's Douze études d'exécution de transcendante

Robinson, Bruce Reid, Robinson, Bruce Reid January 1978 (has links)
No description available.
144

Embellishment of Sacred Renaissance Choral Music: Speculation and Application

Boers, Geoffrey Paul, Boers, Geoffrey Paul January 1987 (has links)
No description available.
145

Acoustics: A Practical Guide to the Choral Conductor

Trainer, Robert F., Trainer, Robert F. January 1986 (has links)
No description available.
146

The Trombone Music of David Uber: A Repertoire for Teaching and Performing

Jennings, Arthur C., Jennings, Arthur C. January 1987 (has links)
No description available.
147

Contemporary Oboe Techniques: An Individual Application to Three Works

Balentine, William F., Balentine, William F. January 1983 (has links)
No description available.
148

The English Musical Renaissance of the Twentieth Century: Its Philosophical and Musical Stylistic Elements as Exemplified in Representative Choral Works of Kenneth Leighton, William Mathias and Paul Patterson

Cock, Christopher Moll, Cock, Christopher Moll January 1987 (has links)
No description available.
149

Irving Gifford Fine: His Choral Music and His Contributions to American Music

Bonner, Dennis M., Bonner, Dennis M. January 1988 (has links)
No description available.
150

Two Ouvertures Pour Instruments A Vent by Hyacinthe Jadin and Etienne-Nicholas Mehul: A Comparison of American Band Editions with their Original Orchestration

Svendsen, Dennis W., Svendsen, Dennis W. January 1987 (has links)
No description available.

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