This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire. / School of Music

Bibliography: p. 792-808 / 808 p. : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Music 1993?

Klaas van Oostveen is best known in South Africa for his Six Miniatures, published by UNISA in the Grade 6 piano album, list D. What is not that well-known is the fact that between 1936 and 1982 he had composed more than 80 pieces, encompassing a multitude of different genres and instrumental combinations. The method of composition Van Oostveen employed can be described as melodically based and to that end he had written an unpublished work entitled The Art of MelodyWriting. As teacher of Harmony, Counterpoint and Composition at the University of the Witwatersrand, Van Oostveen ·left as legacy a number of leading South African music educators that today impart his methods of composition to numerous students in these subjects. This thesis broadly attempts to quantify the extent to which Van Oostveen's compositional theories correlate with his actual compositions, and to that end some of his best known works were analysed from a mainly melodic viewpoint. The compositions included in the study spans a wide array of musical genres demonstrating Van Oostveen's control of all these different musical formats. A CD compilation of recorded works has been included to give the reader a practical insight into the music of Klaas van Oostveen. / Art History, Visual Arts and Musicology / D. Mus.

Made available in DSpace on 2014-08-13T14:50:58Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-17Bitstream added on 2014-08-13T17:59:51Z : No. of bitstreams: 1 000771882.pdf: 1324643 bytes, checksum: e92e63499043222d98a4638270d4ad7b (MD5) / A música erudita ocidental do século XX tem sido objeto de muitos estudos, no entanto, a perspectiva difundida de que este é um repertório de pluralidade extrema tende a isolar as diferentes vertentes estético-composicionais. Se por um lado esta perspectiva trouxe grandes avanços no conhecimento das peculiaridades de cada vertente, por outro lado ela tem impedido a reflexão sobre suas similaridades e confluências. Particularmente importante é o fato de que as obras musicais contemporâneas, independentemente da vertente à qual pertencem, são fruto de estratégias composicionais que almejam algum tipo de diálogo com seus ouvintes, do frequentador da sala de concerto, ao teórico/analista profissional. Este diálogo tem como ponto de partida a constituição de um salto qualitativo, onde os diferentes materiais sonoros são percebidos como integrantes de uma unidade maior e mais complexa, a obra musical, cuja percepção somente é possível se for estabelecida alguma correlação entre a organização formal da obra e as capacidades interpretativas do ouvinte. Cabe aos campos da Teoria e da Análise Musical a consideração desta questão, entretanto, eles se mostram tão complexos quanto a própria pluralidade sonora contemporânea que tentam compreender uma vez que há, na atualidade, uma grande diversidade de ferramentas analíticas que se baseiam em arcabouços teóricos distintos, muitas vezes conflitantes. Buscando confrontar este quadro de aparente relativismo total em relação à possibilidade de compreensão do repertório contemporâneo, consideramos que há padrões de organização musical que transcendem as diferenças estilísticas, os quais podem ser compreendidos a partir da perspectiva de que a música é uma linguagem. Este trabalho busca defender esta tese, partindo da discussão de um conjunto de pressupostos a ele relacionados: 1) que os processos de escuta e de análise ... / The XXth-century Western Art Music has been the object of many studies, however, the widespread vision that this is an extremely plural repertoire tends to isolate the different aesthetical-compositional trends. If this perspective has allowed many advances regarding the knowledge of their particularities, it also has hindered the comprehension of their similarities and confluences. Particularly important is the fact that contemporary musical compositions, regardless of the trends they are associated with, are the product of compositional strategies that aim to establish some kind of dialogue with the listeners, from the concert hall public to the professional theorist/analyst. The starting point for this dialogue is the constitution of a qualitative leap, where the different sound materials are perceived as integrating a larger and more complex unity, the musical composition, which is only possible if it is established come correlation between the formal organization of the composition and the interpretative capacities of the listener. It is up to the fields of Musical Theory and Analysis to ponder upon this matter, nonetheless they are themselves as complex as the contemporary musical plurality they try to comprehend: nowadays, there is a considerable diversity of analytical tools, which are based on distinct (even conflicting) theoretical grounds. Against this seeming frame of total relativity regarding the possibilities of comprehension of the contemporary musical repertoire, it is proposed here that there are patterns of musical organization that transcend the stylistic differences, which can be grasped from the perspective that music is a language. This thesis is supported by the discussion of a group of central tenets: 1) that the processes of musical listening and musical analysis are directly dependant of a system of categorization structured around our perceptual and cognitive mechanisms ...

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-07-19Bitstream added on 2014-06-13T19:14:54Z : No. of bitstreams: 1 lacerda_vm_me_ia.pdf: 1810350 bytes, checksum: 09b69e22e382c38dff50f2c8a8494e03 (MD5) / Merleau-Ponty em O Visível e o Invisível apontou que, nas ciências clássicas, a interpretação e o estudo da realidade física mais recente venham sendo confrontados em seus pressupostos ontológicos de cunho cartesiano. Neste sentido, hoje assume-se como possível parte essencial, intrínseca e inalienável da constituição ontológica da realidade, a relação mutuamente tecida entre observado e observador, e isto conflita com o conceito cartesiano de dicotomia absoluta entre objeto e sujeito. Se nossa hipótese se demonstrar correta, é provável que verifiquemos o mesmo problema com relação à ontologia da música, visto a prolífica e controversa variedade de interpretações dadas ao fazer e fruir musical a partir do séc. XX. Em face dessas considerações, nossa hipótese é a de que talvez seja também necessário considerar, como intrínseco e inalienável à ontologia da música, as relações mutuamente tecidas entre observado (música) e observador (escuta) / In The Visible and the Invisible Merleau-Ponty pointed out that, in the classical sciences, interpretation and study of the most recent physical reality has been questioned in its Cartesian ontological presuppositions. In this sense, today it is assumed as possible that the relationship mutually woven between observer and observed could be responsible to the ontological constitution of reality itself, and it conflicts with the Cartesian concept of absolute dichotomy between subject and object. If our hypothesis is correct, this work will reveal that the same problem is present also in the ontology of music, in face of the prolific and controversial variety of interpretations of making and enjoing music from the Twentieth Century. Given these considerations, our hypothesis is that it should be necessity to consider that the relationship mutually woven between observer (listening) and observed (music) concerns to the ontological constitution of music itself

Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T22:55:10Z (GMT). No. of bitstreams: 1 Silva_RicardoRibeiroda_M.pdf: 17127346 bytes, checksum: cbe855b0f79af67c95f8c7667ab2edfa (MD5) Previous issue date: 2013 / Resumo: Este trabalho propõe o estudo de processos de composição musical do repertório do século XX à luz do conceito semiótico de metáfora. Na primeira parte são discutidas algumas das abordagens teóricas acerca deste conceito, enfatizando-se as concepções relacionadas à semiótica peirceana e a determinados autores da filosofia da linguagem. Neste ponto, o objetivo é observar de que maneira a metáfora pode ser compreendida como operação semiótica de significação, que pode ser estendida a sistemas semióticos outros, para além da linguagem verbal. Na segunda parte da pesquisa, procura-se observar as implicações desta operação metafórica para a compreensão de processos de criação musical, notadamente relacionadas a praticas composicionais do século XX. Para tanto, são analisados aspectos dos processos criativos na música eletroacústica de Luc Ferrari - particularmente relacionados à questão da referencialidade na música acusmática; e na música instrumental de Tristan Murail - enfatizando-se a exploração de modelos na música espectral / Abstract: This works proposes the study of twentieth century music compositional processes in the light of the semiotic concept of metaphor. In the first part, some theoretical approaches on metaphor are discussed, notably the conceptions related to peircean semiotics and to some authors of philosophy of language. In this point, the objective is to observe how metaphor can be understood as a semiotic operation of meaning, which can be extended to different semiotic systems, beyond verbal language. In the second part of the research, we intend to observe the implications of metaphoric operation within processes of twentieth century compositional practices. Therefore, some aspects of the creative processes are analyzed; first in the electroacoustic music of Luc Ferrari (1929 - 2005) - mainly those related to the question of reference in acousmatic music; and also in the instrumental music of Tristan Murail - emphasizing the exploration of models in spectral music / Mestrado / Processos Criativos / Mestre em Música

This treatise provides recorder performers and teachers with a guide to understanding the unconventional notation symbols encountered in Music for a Bird by Hans-Martin Linde and Sieben Stücke Für Altblockflöte by Markus Zahnhausen. Given the context of the overall history of notation, it argues that the idiosyncrasies of the unconventional notation symbols encountered in the recorder repertoire of contemporary composers such as Linde and Zahnhausen are by no means an anomaly. Throughout history, notated scores have functioned merely as incomplete guides to the reconstruction and the realization of musical works. Along with the decoding of these instructions, a host of acculturated meanings have always been taken for granted on the part of the writers of such guidelines. In the light of the modernist crisis and the resultant exacerbation of the gulf between composers and their audience, however, it would seem that the need for such acculturated intervention is greater then ever before. This treatise serves to bridge the gulf between the works of Linde and Zahnhausen on the one hand, and the average performer and teacher of the recorder on the other, by offering an analysis both of the meaning of the unconventional symbols these works contain as well as of the method according to which they should be executed on the recorder.

John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to the late twentieth century piano repertoire. A large-scale work, it occupies a particularly important place in the composer's output of music for piano. The remarkable variety of genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in his piano music. This profusion of sources and its application to the Etude Fantasy are explored in the introduction, which is a general discussion o f the composer's background and aesthetic stance. The intriguing title of the Etude Fantasy implies the coexistence of two genres and raises the issue of the role of each genre in the thematic and structural organization o f the work. It is this issue which is the principal subject of inquiry in the thesis. Chapter I examines the historical background o f the etude genre, discussing similarities between the pianistic techniques employed in Corigliano's work and those found in specific historical instances of the etude genre over two centuries. Chapter II focuses on the historical background of the fantasia genre, emphasizing contrasting characters, textures, and keys as the main indicators o f a free form, and at the same time drawing attention to thematic transformation as a device of structural unification. Chapter III concentrates on elements that produce structural and formal coherence in John Corigliano's Etude Fantasy. These elements are motivic, intervalic, melodic, and harmonic in nature. / Arts, Faculty of / Music, School of / 3 Cass, 1 CD / Graduate

The popularity of the clarinet in Spain is second only to that of the guitar, and there is a rich tradition of clarinet playing that is accompanied by an equally rich repertoire of music for the clarinet by Spanish composers. The works for clarinet and piano by Miguel Yuste (1870-1947) are among this little known repertoire. In the early twentieth century it was thought that Miguel Yuste wrote over one hundred works for clarinet. However, current research suggests that this is incorrect. What is known is that seven works for clarinet and piano have been published. Miguel Yuste and his music are pivotal in the establishment of the strong clarinet tradition for which Spain is presently known. In his thirty years as the clarinet professor at the Real Conservatorio Superior de Música de Madrid (1910-1940), Miguel Yuste's music and pedagogical ideas became, and continue to be among the foundations of Spanish clarinet playing. This project discusses each published work and presents current research on the works composed for clarinet and piano by Miguel Yuste. After a brief history of Spain's music and social climate in which it developed (Ch. 2), this document discusses the introduction of the clarinet in Spain, clarinet pedagogy at the Madrid Conservatory (Ch. 2), and Miguel Yuste's influence within that pedagogy (Ch. 3). Establishing contact with living clarinetists whose music education was directly influenced by Miguel Yuste and/or his students provides invaluable insight into the traditional performance practice of the works and the extent to which Miguel Yuste influenced Spanish clarinetists in the twentieth century. Chapter four presents an annotated bibliography and brief discussion of the extant works for clarinet by Miguel Yuste. Each annotation includes the title of the work, publisher, date of publication, duration, and any commercially available recordings.

Diese Abhandlung hat den Charakter einer Synthese des polnischen Musiklebens in Oberschlesien und Tesinschlesien während der Vorkriegszeit. Das Ziel dieser Arbeit beruht auf der Darstellung der Kompositionen der Schlesischen Schule.