Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 112-122).

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / Title from title screen (viewed July 30, 2007). Includes bibliographical references (leaves 112-122). Online version of the print original.

This doctoral research explores the benefits of the Kingma System as applied to the alto and bass flute. It demonstrates each instrument's potential for the use of extended techniques and the way in which these techniques are applied to the repertoire. The research takes places within the context of my own personal practice as a recitalist and chamber musician, and is represented through recordings of a selection of the repertoire and a website for each instrument, as well as a written commentary. The discussion of repertoire focuses on case studies selected from over 75 works composed for me using these Kingma System instruments. These case studies are presented through recordings, as well as in a detailed discussion of the use of specific aspects of the instruments' capabilities, including multiphonics, microtonality, alternate fingerings, tone colour, articulation and other extended techniques. The approaches of different composers regarding the notation of these techniques within the repertoire are also explored, and the practical information arising from these case studies is presented as a reference guide for composers and performers in website form. These websites can be found at www.altoflute.co.uk and www.bassflute.co.uk, and include multimedia demonstrations, fingering charts and notational examples. Much of this information is being made available for the first time, and includes the most extensive published selection of multiphonics and trill fingerings for the alto and bass flute. This is also the first survey of extended techniques that is specifically dedicated to instruments enabled by the Kingma System.

This study includes information on nonstandard instruments. The purpose of this document is to benefit composers who may wish to write for instruments not found in the standard orchestra. Since composers are constantly seeking new sounds, they often turn to exotic or less frequently used instruments. These nonstandard instruments can provide fresh timbres in addition to those of standard Western instrumentation, or aid the composer in alluding to the characteristic sounds of a particular culture. A study such as this is needed because most nonstandard instruments do not appear regularly in orchestration texts.The instruments included in this study are: accordion, carillon, didgeridoo, erhu, glass harmonica, hammered dulcimer, cimbalom, hardanger fiddle, harmonica, highland bagpipes, Irish flute, tin whistle, koto, shakuhachi, sitar, thermin, and uillean pipes. Entries contain information about each instrument’s timbre, dynamics, physical description, history and origins and limitations. Photographs and musical examples from well-known composers are included with each entry. A significant portion of information was collected from personal interviews with expert performers and composers. / School of Music

Thesis (Ph. D.)--Open University. BLDSC no. DX210667.

by Tsui Ying Fai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1990. / Bibliography: leaves 152-162. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Definition / Chapter 1.2 --- Background of the Modernized Chinese Folk Orchestra / Chapter 1.3 --- Chinese Orchestras in Hong Kong / Chapter 1.4 --- Limitations and Scope / Chapter 1.5 --- Translation and Transliteration / Chapter Chapter 2 --- Chinese Instrumental Activities in Hong Kong Before 1970 --- p.12 / Chapter 2.1 --- Historical Background of Hong Kong / Chapter 2.2 --- Chinese Orchestral Activities in Hong Kong before the 1970's / Chapter Chapter 3 --- Amateur Chinese Orchestras in the 1970´بs --- p.22 / Chapter 3.1 --- Establishment / Chapter 3.2 --- Aims and Objectives / Chapter 3.3 --- Headquarters / Chapter 3.4 --- Economic Situation / Chapter 3.5 --- Administration Structure / Chapter 3.6 --- Membership and Players / Chapter 3.7 --- Activities / Chapter 3.8 --- Repertoire and Music Scores / Chapter 3.9 --- Social Networks / Chapter 3.10 --- Problems and Changes / Chapter Chapter 4 --- Case Studies of Three Amateur Chinese Orchestras --- p.55 / Chapter 4.1 --- Wang Kwong Chinese Orchestra / Chapter 4.2 --- The Hong Kong Youth Music Society / Chapter 4.3 --- Sing Fai Chinese Folk Orchestra / Chapter Chapter 5 --- Other Important Events in the 1970's --- p.111 / Chapter 5.1 --- The Emergence of Solo Concerts by Amateur Players / Chapter 5.2 --- Collective Activities Among Amateur Chinese Orchestras / Chapter 5.3 --- Government Involvement and Professional Practice / Chapter Chapter 6 --- Causes for the Rapid Growth of Amateur Chinese Orchestras in the 1970 's --- p.122 / Chapter 6.1 --- Reasons for Many Different Amateur Chinese Orchestras Being Established / Chapter 6.2 --- Causes for the Emergence of the Chinese Orchestras / Chapter Chapter 7 --- Conclusion --- p.146 / Bibliography --- p.152 / Chapter Appendix I --- List of Concert Programs --- p.157 / Chapter Appendix II --- A Survey on Repertoire of Twenty-eight Concerts in the 1970 's --- p.163 / Chapter Appendix III --- List of Scores Published in the Mainland in the 1970's --- p.166 / Chapter Appendix IV --- Adminstrative Structure of the Wang Kwong Chinese Orchestra --- p.171 / Chapter Appendix V --- Musical Examples in Full Scores --- p.172 / Glossary --- p.177

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Thesis(M.S.)--Auburn University, 2005. / Abstract. Vita. Includes bibliographic references.

Thesis (M.Mus.) -- University of Adelaide, Dept. of Music, 1974.