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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.

Concerto for Saxophone and Orchestra

Yang, Minsuk 28 August 2014 (has links)

Initially, my motivation for writing saxophone music started with curiosity about the saxophone's timbre rather than influence of jazz music or specific musical styles. I think composers' ideas of sounds are not always easy to realize because of the physical instrument's characteristics. For instance, in case of woodwind instrumental works, performers are occasionally confronted with difficult fingerings, long notes with fastidious articulation, tunings, rapidly leaping motions and so on. From this perspective, clarinet is an easier and satisfactory instrument for realizing composers' idea compared with other instruments and many clarinet works have been attempted successfully. The saxophone, as a single reed instrument, has not only the similar advantages of the clarinet's instrumental mechanism but also timbral characteristics mingled with wood wind and brass instruments. In fact, the saxophone has a complex harmonic spectra whereas clarinet's timbre consists of only odd harmonics.

In the work, the main compositional ideas are applications of short repetitive motive patterns using variation, diminution and extension. The first etude-like pattern appears in an easier register to articulate the saxophone's sonority. The orchestra performs not only material supporting the saxophone's passages but also contrasting ideas of melodic and rhythmic passages.


Composing madness| Realism in "Peter Grimes"

Borgatti, Sarah 19 August 2014 (has links)

The premiere of Benjamin Britten's opera Peter Grimes on June 7, 1945, at Sadler's Wells Theatre, reverberated throughout London and quickly spread beyond the city to permanently impact postwar audiences. The success of the opera was chiefly due to Britten's ability to fine–tune a specific kind of realism in portraying Grimes's descent into madness. This thesis examines the way in which Britten tackles the difficult task of composing an opera centered on a “sadistic fisherman.” After a reading of the Act III mad scene, it describes how the character of Peter Grimes was shaped both dramaturgically and visually through a highly collaborative process. Finally, a short review of the opera's early reception confirms that its impact on contemporary audiences cannot be reduced to mere empathy for the eponymous anti–hero and his psychic demise. The complex dialectics of realistic premises and operatic conventions endowed the work with the potential to create a safe space in which to consider the recent horrors and utter devastation of World War II. More generally, this thesis proposes that by offering these distinct spaces for introspection, opera has the significant potential not only to teach us about our own past, but also to shape our ability to act in the future.


The compositional style of Taylor Eigsti

Kim, Donghee 5 May 2015 (has links)

Jazz pianist Taylor Eigsti is one of the most spot-lighted jazz musicians today. He has played with many jazz luminaries, such as Dave Brubeck, Esperanza Spalding, Joshua Redman, James Moody, Kurt Rosenwinkel, Chris Potter, Christian McBride, Gertchen Parlato, Ambrose Akinmusire, Julian Lage and many more. Eigsti has also been recognized as a remarkable writer for his Grammy-nominated album Lucky to Be Me in the category of Best Instrumental Composition in 2006, orchestral works, and the theme music on the film Detachment (2011). I will analyze his compositional style using two of his compositions: "Magnolia" and "Midnight after Noon" from his latest album Daylight at Midnight (2010). Eigsti's asymmetrical phrasings, unusual chord progressions using common tones, and various harmonic rhythm displacements will be discussed in the project. Lastly, I will compose an original tune within his writing style to represent the unique colors of Eigsti's sound.


Straight Ahead: The Life, Pedagogy, and Influence of Dennis L. Schneider

Eckhardt, Louie Colton Sperry 23 April 2015 (has links)
The career of Dennis L. Denny Schneider, Professor of Trumpet at the University of Nebraska-Lincoln from 1961-1996, was expansive. From small town Nebraska, Schneider graduated from the University of Nebraska and Indiana University. After serving in the USAF Strategic Air Command Band, and teaching public school music, Schneider began teaching at the University of Nebraska. He served as principal trumpet of the Lincoln Symphony Orchestra, Omaha Symphony Orchestra, and the Nebraska Chamber Orchestra for decades. Schneider also served as principal trumpet for the Cabrillo Summer Festival Orchestra, and performed and recorded with the Summit Brass. He was the recipient of many awards, including the Distinguished Teaching Award from the University of Nebraska and the International Trumpet Guild Award of Merit. This project examines Schneiders life, career as a trumpet player, and pedagogy. One of his former students pointed out that his publications are his students themselves: evidenced by the large number of successful professional trumpet players and teachers that studied with him. These include Tim Andersen, Michael Anderson, Allan Cox, Laurie Frink, Grant Peters, and Alan Wenger. Through a series of interviews with these and others, themes have been identified in his teaching, which show how he adapted his teaching style to the individual needs of each student. The appendix contains transcripts from the interviews, a listing of references to Schneiders work in the International Trumpet Guild Journals between 1976 and 2012, and a copy of his infamous Pink Sheet trumpet practice routine. It is my hope that this project will help to preserve Denny Schneiders legacy as a master teacher, world class trumpeter, and human being of the highest quality in the trumpet community and greater music world.


Alpeter, Troy 17 April 2015 (has links)
No description available.

The Good Friday Cantatas of Christoph Graupner (1683-1760)

Bahnean, Marius 28 January 2015 (has links)
Christoph Graupner (1683-1760) was a High Baroque composer who worked primarily in Darmstadt, Germany. He was a student of both Johann Schelle (1648-1701) and Johann Kuhnau (1660-1722) while studying at the University of Leipzig from 1696 to 1707. For the duration of these formative years, Graupner developed a compositional style influenced by the Italian and French masters of the time. As a personal assistant to Kuhnau, and copyist of his music, Graupner had access to the most recent compositional techniques, and thus continued the development of his own compositional style. At the time of his 1712 Kapellmeister appointment at the court of Darmstadt, Grauper was an established composer and keyboardist. His reputation as an important composer of the time is evident in his appointment as Kapellmeister in 1724 at the Thomaskirche, Leipzig; Graupner, however, opted to remain at Darmstadt when the Darmstadt court increased his salary. During his tenure at Darmstadt, Graupner composed over 1400 cantatas and many instrumental works. One cantata representative of this period is presented in this document in the form of a modern edition score. Cantata GWV 1127/19 O Welt sieh hier dein Leben in modern edition score is the starting point of placing Graupners works in the context of the compositional techniques of the eighteenth century. A detailed textual and musical analysis is presented, together with major compositional influences and performance considerations of the Baroque period. The modern edition score is made based on the manuscripts found at the State and University Library, Darmstadt, Germany.

Brahms the autumnal and the romantic aesthetic of dissolution

Cubero Hernandez, Diego 28 January 2015 (has links)

This study expands upon the common notion that Brahms's music evokes the autumnal by closely examining the source and significance of this expressive quality. It proposes that his works embody the Romantic ideal of dissolution through a number of specific compositional means. The findings complement prevailing views on the nature of Brahms's autumnal sound, bringing an important part of the composer's reception history in dialogue with key tenets of Romanticism and with a close analysis of the music.

As Chapter 1 demonstrates, scholars have long regarded the autumnal quality of Brahms's music as a product of the composer's belated position in music history. Chapter 2 seeks to complement this view by providing a philosophical context from which to better understand the significance of this aspect of his style. This chapter argues that dissolution was for the Romantics a means of intuiting the spiritual in the physical. This notion of decay underpins a century-long interest in ruins, twilight, and the distant, and provides the basis for the Romantic conception of inwardness and resignation as forms of self-dissolution.

The aim of the subsequent chapters is to demonstrate precisely how Brahms's music may be heard as expressive of this Romantic ideal. Chapter 3 discusses three different forms of thematic decay and the formal functions they assume in his music. Chapter 4 expands on Frank Samarotto's concept of sublimation to describe how upward impulses vanish in several of his songs depicting the sunset. Chapter 5 draws a parallel between Brahms's use of structural inner voices and the Romantic notion of inwardness as a fading within. Chapter 6 compares the blurring of harmonies in his works to the way objects fade seamlessly into one another in the background of Romantic landscape paintings. While each chapter focuses on a particular compositional issue, the analyses draw on the finding of each previous chapter. To conclude, an analysis of Brahms's Intermezzo, Op. 118 no. 2, shows all of these techniques working together to imbue the music with a distinct twilight quality.


A Study of Difference Tones as Related to Choral Singing

Worland, Maurice Andrew 1948 (has links)
No description available.


MINOR, JANICE LOUISE 5 October 2004 (has links)
No description available.


LIM, JUNGMOOK 2004 (has links)
No description available.

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