雨(Rain) : for SATB choir and piano -- String quartet no. 1 -- The Ferris wheel fantasia : for double-winds orchestra. / Yu (Rain) : for SATB choir and piano -- String quartet no. 1 -- The Ferris wheel fantasia : for double-winds orchestra. / Kwan Lai-yan Livia. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Chapter 1. --- 雨(Rain ) --- p.1 / For SATB Choir and Piano / Chapter 2. --- String Quartet No.l --- p.23 / Chapter 3. --- The Ferris Wheel Fantasia --- p.41 / For double-winds Orchestra

The faculty of judgment, whether aesthetic, political, or moral, held a central position in the life of eighteenth-century England. This dissertation reveals the political ideologies underlying the aesthetic judgments (made by composers, audiences, and characters) in a repertoire of masque settings of William Congreve's libretto, The Judgment of Paris from 1701 to 1742. / Chapter One provides an introduction to English political history in the early to mid-eighteenth century, in particular the Parliamentary strife which existed between the Whig and Tory parties, and documents the influence of politics on cultural production and aesthetic ideology. Chapter Two outlines the events surrounding the "The Prize Musick" competition including the circumstances of its inception, sponsors, competitors, and outcome. This chapter also discusses Congreve's ties to the Whig party and the structure and content of his libretto. Chapter Three analyses and compares the settings of the original extant settings from the competition by Daniel Purcell, John Weldon, and John Eccles with emphasis on their relative strengths of orchestration, harmonic structure, and motivic content. In Chapter Four new settings of Congreve's libretto, dating from the 1740s, by Giuseppe Sammartini and Thomas Arne are analysed and compared, both to each other and to the earlier "Prize" settings. This chapter also discusses the rise of other dramatic works based on similar "judgment" or "choice" plots such as Handel's The Choice of Hercules. Finally, Chapter Five outlines the historical function of music and aesthetic judgment in maintaining an orderly society and the role of The Judgment of Paris settings in fulfilling this function.

The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording.

Time Fields: Chamber Concerto #3 for fifteen players (2004) is a composition for five woodwinds, three brass, one percussionist, piano, string quartet and double bass with an approximate duration of 14 minutes. This work addresses the nature of musical time and its role in the organisation of the large-scale structure of the piece. Four differing states of musical time, which I refer to as Temporal Textures (Static, Obscure, Temporal Counterpoint and Clear), are employed in particular alternations to form a single movement work in four distinct sections.

Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform. / The processed sound part is closely linked to the music in the orchestra. This is as a result of developing the pitch-material of the orchestra by spectrally analyzing the processed audio. At certain times, the relationship between the electronics part and the sound of the orchestra is blurred. To accomplish this, the related formal sections of the orchestra are situated in a canonic relationship with respect to the processed-sound part. The thesis is in two parts: an analysis and an orchestral score.

The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording. / Arts, Faculty of / Music, School of / Accompanied by sound cassette of recital. / Graduate

Orientador: Carlos Fernando Fiorini / "O segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro" / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T03:24:23Z (GMT). No. of bitstreams: 2 Popolin_DanielaFrancineLino_D.pdf: 30668844 bytes, checksum: 792422ea820dade8c485cb8c13f1f408 (MD5) Popolin_DanielaFrancineLino_D_ANEXO.zip: 1638597 bytes, checksum: 643d2c51b49b32f196e1cd7ab01bbb9c (MD5) Previous issue date: 2013 / Resumo: Lagrime di San Pietro é uma das obras mais relevantes dentro da vasta produção de Orlando di Lasso, composta por um conjunto de vinte Madrigais Espirituais e um Moteto. Esta tese teve como principal objetivo um estudo sobre a preparação e a execução desta obra sob a ótica do regente, embasado por um conjunto de pesquisas adjacentes que proporcionassem um suporte teórico, como análise musical, textual e a relação entre ambos, contextualização histórica da obra e do compositor, além do levantamento das dificuldades encontradas durante o processo de execução da obra, partindo da aplicação prática da proposta apresentada. Devido à dificuldade de se encontrar uma edição ideal, foi necessário confeccionar uma nova partitura da obra que pudesse ser utilizada tanto como base para esse estudo como para a sua execução. Assim, o segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro / Abstract: Lagrime di San Pietro is among the most significant works in the huge production of Orlando di Lasso, consisting of a set of twenty Spiritual Madrigals and a Motet. This thesis aimed to a study on the preparation and performance of the work from the conductor's perspective, based on a set of adjacent researches that provide a theoretical foundation and practical implementation of the proposals, such as musical and textual analysis and the relationship between both, a historical background of the work and the composer, and a survey of the difficulties found during the performance of the work, based on the implementation of the proposal. Given the difficulty of finding a right edition, it was necessary to prepare a new score of the work which could be used both as the basis for this study and for its performance. Thus, the second volume presents a new reviewed and critical edition of Lagrime di San Pietro / Doutorado / Praticas Interpretativas / Doutora em Música

For a composer of today, the relationship between new music and music from many centuries past remains problematic. In order to create something new, it is necessary to go beyond previous techniques of composition in some way. At the same time, new music that has no connection with music of the past runs the risk of irrelevance. Just tuning offers one possibility for reconciling this problem. By effectively warping music of the past through the lens of altered tuning and contemporary composition techniques, music of the past may be understood in previously unknown ways. Part I, the critical essay, presents historical background and analysis of a cycle of three works in altered/just tuning. Part II presents scores of the works.

This paper presents the history and the theoretical study of mixed music and focuses on two piano solo works and two mixed electroacoustic compositions for piano and electronics. By discussing the working process and giving the analysis of the original composition Alchemy for piano and electronics, this paper investigates the relationship between cause, source and spectromorphology, reflecting how the concept of energy-motion trajectory are embodied in this mixed electroacoustic work. Alchemy is a mixed composition for piano solo and 8-channel fixed electronics focusing on the gestural play and sonic expression. The live piano part explores the gestural sound played with a slide (cup), paper clip, and objects placed inside the piano. The 8-channel electronics part is mainly derived from the recorded acoustic piano. It extends the sonic potential of source materials and presents the diverse vectorial movements of spatialization.

Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.