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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.
61

Symphony No. 1: On the Creation and Chromaticism and Harmony in Henry Purcell's Sacred Music

Carver, Joshua Adam 29 July 2014 (has links)
The first part of this dissertation is a musical composition for orchestra entitled Symphony No. 1: On the Creation. Each movement depicts one of the first four days of Creation as it is recorded in Genesis 1 of the Bible. The music is programmatic throughout; melodies, textures, colorations, and even forms serve this purpose. The entities and creations involved in the story each appear with a specific motive, mode, and tonal area, similar to Wagners leitmotifs. The movements have various forms, which often derive from the literary form of the particular days creation account in Genesis. The second part of this dissertation is an exploration of chromaticism and harmony in Henry Purcells sacred music. Purcell composed during a stylistic period marked by a transition from modality to tonality. The Baroque period developed out of the style of the High Renaissance, which was typified by imitation, counterpoint, and strictly controlled dissonance. By its close, the tonal system, characterized generally by the necessary progression of dominant to tonic harmony, had reached ascendance. Purcells music often strikes listeners as highly imaginative and original; certain exceptional moments stand out because the sounds and techniques that Purcell uses break with standard Renaissance practice, and remain unusual in the context of subsequent stylistic periods. Chromaticism was a natural part of Purcells musical language, both at surface and background levels. He used many chromatic techniques, including chromatic motives, chromatic textures, and background chromatic lines to create more vivid expressions of textual ideas and themes, as well as to provide musical coherence across a work. Additionally, Purcells chromaticism creates many different unusual and striking harmonic effects, including false relation, unusual chord progression, modality, and harsh vertical dissonance. This document examines numerous remarkable moments that feature these and similar devices in several of Purcells sacred compositions.
62

Commentary on the submitted portfolio of compositions

Sarcich, Paul January 2010 (has links)
No description available.
63

Rachmaninoff's Trio Elegiaque, Op 9: A Performer's Guide

Galeano, Elisa Braga 31 August 2016 (has links)
This document and the accompanying lecture/recital performance aim to call more attention to this intense and deeply emotional work. Focus will be placed on the technical challenges in the piano part while making recommendations for the performer when appropriate. As background, an overview of Rachmaninoffs early life and work is presented in order to provide a clearer understanding of what led him to compose this trio. Of particular importance in the writing of this piece was the direct influence of Peter Tchaikovskys Trio, Op 50, which will also figure prominently in the background discussion.
64

Convergent Styles: A Study of Dave Brubeck's Points On Jazz

Rogers, Ethan Loyd 14 March 2017 (has links)
The music of Dave Brubeck encompasses diverse classical and jazz styles from around the world. Due to the eclectic nature of Brubecks music and the difficulty in categorizing his style, little has been written about his compositions. This document will aid musicians in better understanding his suite Points on Jazz, a work for classical piano. <br> <br> The first chapter examines the development of Brubecks style from his early childhood years until 1958, the year he composed Points on Jazz. The second chapter details the background of this piece and some of its influences, including Dziekuje, the piece upon which Points on Jazz is based. The third chapter presents a performance guide outlining stylistic, artistic, technical, and interpretive considerations, including score comparisons from other works which may have influenced Brubeck. The fourth chapter summarizes Brubecks style and provides an overview of this style in some of his other compositions. <br> <br> This study proves that Brubecks music cannot be defined by any established style but rather is a unique convergence of many different styles. This monograph will lead to a better understanding and interpretation of Points on Jazz and can be used as a resource for further studies of Brubecks classical compositions.
65

Selected Works of Richard Burchard: A Resource Guide

Plummer, William Floyd 01 May 2017 (has links)
This document serves as a resource guide for selected choral works of Richard Burchard, including pertinent background information and biographical details about the composers life, information concerning the compositional style and musical structure of his choral works, and accessibility and interpretive considerations for the choral conductor. Works were selected for this study chronologically by publication date, from Burchards first published work (Miserere mei, published 2009) through the beginning of this project in early 2012. Born in 1960, Richard Burchard is the Chair of the Music Department at Bellarmine University in Kentucky. Burchrd has written over 50 pieces, many of which remain unpublished. However, his first nine published works have been given premieres at prestigious events such as the American Choral Directors Association National Convention, the National Collegiate Choral Organization National Convention, the California Chapter of the American Choral Directors Association All State Choir Festival, and the American Choral Directors Association Western Division Convention. The premieres of these choral works at these important professional gatherings attest to the growing popularity of his work and the importance of Burchard as a significant new composer in choral composition. Continued acclaim and notoriety suggests the need for scholarly and musical study devoted to Burchards choral music.
66

In Support of Nikolai Medtner: An Examination of Five of his Art Songs

Liebeskind, Daniel J 01 May 2017 (has links)
The music of Nikolai Medtner was neglected during his lifetime and has remained so after his death. While his piano sonatas and fairy tales receive occasional exposure, his 106 art songs are almost never heard. This monograph examines five of the 27 songs that he, himself, recorded. It is hoped that these analyses will convince readers that his most neglected genre is worthy of study and performance. A biography of the composer lays out possible reasons for his neglect, including his principled avoidance of the commercial aspects of the music business, writing in a post-Romantic style during an era that viewed that language as old-fashioned, the social and political upheavals of the first half of the twentieth century, the technical difficulty of his works, and their lack of immediate melodic appeal. The biography is followed by an overview of his musical output and style, which leads to an examination of five of his songs: Elfenliedchen, Op. 6, No. 3, Aus Lila, Op. 15, No. 5, Роза, Op. 29, No. 6, Die Quelle, Op. 46, No. 6, and Winternacht, Op. 46, No. 5. Each descriptive analysis pays particular attention to the text-music relationship of the individual songs, and an effort is made to highlight distinctive Medtnerian techniques and characteristics that apply to his broader output.
67

The Viola in the Twenty-First Century: A Sound Recording and Performance Guide of Peter Daytons "Fantasy for Viola and Piano," Christopher Hallums "A Day in Monroe County," and Christopher Lowrys "Milestone Miniatures for Solo Viola" and "Suite for Viola and Piano"

Lowry, Christopher Daniel 02 May 2017 (has links)
The standard repertoire of the viola is quite small when compared to that of the rest of the string family; the instrument came of age in the twentieth century, which brought about the first important virtuosos and compositions for the instrument. In the twenty-first century, the repertoire of the viola continues to grow, and the author, being both a violist and composer, feels it is important to continue contributing quality music to the instrument, both through his own compositions and through working with other living composers. The purpose of this research was to record a full-length CD of new works for viola and provide descriptions and performance guides of these pieces, as well as biographical sketches of their respective composers and a detailed guide to the recording and editing process. The project is in two main parts: the CD, which was entirely engineered, recorded, and edited by the author and performer; and the paper, which talks about the recorded pieces as well as a sort of practical guide to self-producing a classical CD. The featured pieces include Peter Daytons Fantasy for Viola and Piano, Christopher Hallums A Day in Monroe County, and the authors own Suite for Viola and Piano and Milestone Miniatures for Solo Viola. As classical music in general is not often self-recorded or self-produced like the majority of more popular musical genres, the author intends this project to encourage more performers to self-produce their own projects as well. Each of the first four chapters offers insights into the compositional processes of the pieces as well as guides to successful performances of them; the first two chapters also give biographies of the composers, detailing their relationships to the author. The final chapter discusses the recording process, including the microphones and techniques used, as well as the methods used in post-production and mixing, and the challenges faced during the process. The author hopes this project will make a good case for all of these pieces as viable additions to the standard repertoire, and that more musicians will be inspired to make their own recordings.
68

Eduardo Gamboa's Life, Music, and Inspiration. Understanding the Influence of Folk Music on his Work "Transparencias:" an Analysis, Performance Guide, and Violin Transcription

Fernandez Lopez, Perla del Rocio 02 May 2017 (has links)
The purpose of this dissertation is to explore the life and music of Mexican living composer Eduardo Gamboa. This study intends to fill a void on the research of Gamboa. This document provides detailed biographical information, information about the influences on his music, and an edition of Transparencias for violin. The first chapter provides a broad biography of the composer including his musical formation, folk experience, and a complete catalog of his works. The second chapter is an introduction about Transparencias and contains the point of view of the composer and of the flutist Tadeu Coelho, to whom Gamboa dedicated this piece. The following four chapters explore the folk influences on his work Transparencias, including an analysis and performance suggestions from the author; this section describes the folk genres from which Gamboa took his inspiration, provides historical background, an explanation of the instruments, and musical characteristics of these genres. Finally, the last section of this project includes the authors edition for solo violin and strings of Transparencias, originally for solo flute, violin, viola and cello. The author believes this would be an important input for the Mexican violin repertoire.
69

Gamelan and the modern pedal harp of the west| A performer's perspective on hybridized musical influences in the harp chamber works of Bill Alves, Lou Harrison, and Alan Hovhaness

Wappel, Jaclyn 05 May 2017 (has links)
<p> This study discusses, evaluates, and analyzes the various methods and patterns in which American composers Bill Alves (1960-), Lou Harrison (1917-2003), and Alan Hovhaness (1911-2000) have adapted Indonesian gamelan musical concepts, philosophies, and performance practices in selected Western chamber works that include the double-action pedal harp. In particular, these examples contain notation, instrumentation, musical layers and interactions, and sounds that are inspired by or modeled after Javanese and Balinese musical elements. Greater focus is given to Javanese musical practices, and inherent compositional devices have been discovered in each piece&rsquo;s structure, rhythm, melody, ornamentation, intonation, and choice of instrumentation or orchestration. Special attention is given to a contextual and musical analysis of the Concerto for Harp and American Gamelan by Bill Alves, which features an unprecedented fusion of Western and Eastern musical practices. It is further evaluated through discussions of &ldquo;authenticity&rdquo; in world music, and I provide recommendations as to how a harpist can use this information in order to recreate this piece. </p>
70

"Double Rainbow," "Appalachiana," and "'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke's Second Symphony"

Smirnov, Vladimir January 2016 (has links)
<p>This dissertation consists of three distinct components: (1) “Double Rainbow,” a notated composition for an acoustic ensemble of 10 instruments, ca. 36 minutes. (2) “Appalachiana”, a fixed-media composition for electro-acoustic music and video, ca. 30 minutes, and (3) “'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke’s Second Symphony”, an analytical article.</p><p>(1) Double Rainbow is a ca. 36 minute composition in four movements scored for 10 instruments: flute, Bb clarinet (doubling on bass clarinet), tenor saxophone (doubling on alto saxophone), french horn, percussion (glockenspiel, vibraphone, wood block, 3 toms, snare drum, bass drum, suspended cymbal), piano, violin, viola, cello, and double bass. Each of the four movements of the piece explore their own distinct character and set of compositional goals. The piece is presented as a musical score and as a recording, which was extensively treated in post-production.</p><p>(2) Appalachiana, is a ca. 30 minute fixed-media composition for music and video. The musical component was created as a vehicle to showcase several approaches to electro-acoustic music composition –fft re-synthesis for time manipulation effects, the use of a custom-built software instrument which implements generative approaches to creating rhythm and pitch patterns, using a recording of rain to create rhythmic triggers for software instruments, and recording additional components with acoustic instruments. The video component transforms footage of natural landscapes filmed at several locations in North Carolina, Virginia, and West Virginia into a surreal narrative using a variety of color, lighting, distortion, and time-manipulation video effects. </p><p>(3) “‘The Invisible Mass:’ Exploring Compositional Technique in Alfred Schnittke’s Second Symphony” is an analytical article that focuses on Alfred Schnittke’s compositional technique as evidenced in the construction of his Second Symphony and discussed by the composer in a number of previously untranslated articles and interviews. Though this symphony is pivotal in the composer’s oeuvre, there are currently no scholarly articles that offer in-depth analyses of the piece. The article combines analyses of the harmony, form, and orchestration in the Second Symphony with relevant quotations from the composer, some from published and translated sources and others newly translated by the author from research at the Russian State Library in St. Petersburg. These offer a perspective on how Schnittke’s compositional technique combines systematic geometric design with keen musical intuition.</p> / Dissertation

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