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Labyrinth for piano sextet -- Music for oboe, clarinet, bass clarinet, bassoon and piano -- The ride-by-nights (for treble choir or female choir) / Lai Nga Ting Ada. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract in English --- p.1 / Abstract in Chinese --- p.3 / Labyrinth for Piano Sextet --- p.4 / Programme notes --- p.5 / First movement --- p.6 / Second movement --- p.17 / Third movement --- p.32 / "Music for Oboe， Clarinet, Bass Clarinet, Bassoon and Piano" --- p.53 / Programme notes --- p.54 / Score --- p.55 / The Ride-by-Nights (for Treble Choir or Female Choir) --- p.75 / Programme notes --- p.76 / Lyrics --- p.77 / Score --- p.78

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra. / Yang Jin Fong. / "June 2004." / Thesis (D.Mus.)--Chinese University of Hong Kong, 2004. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.

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The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

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Der vorliegende Band vereint fünf Oboenkonzerte, die in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden überliefert sind. Sie werden hier, nahezu drei Jahrhunderte nach ihrer Entstehung, der musikalischen Öffentlichkeit in neuen quellenkritischen Ausgaben vorgelegt. Bei den Quellen handelt es sich hauptsächlich um Abschriften Dresdner Hofnotisten. Sie wurden im sogenannten „Schranck No: II.“ in der Katholischen Hofkirche aufbewahrt, die sie als Repertoire der Dresdner Hofkapelle der ersten Hälfte des 18. Jahrhunderts ausweisen. Dieser Band 19 der Editionsreihe Denkmäler der Tonkunst in Dresden ergänzt in sinnvoller Weise den von Hans-Günter Ottenberg herausgegebenen Band 1, Fünf Fagottkonzerte in Dresdner Überlieferung (2011). Er enthält lediglich fünf der zahlreichen Dresdner Konzerte für Oboe solo mit Orchesterbegleitung.

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Opera fantasias have been denigrated as insufficiently intellectual or serious, as derivative, as merely popular or sentimental. However, many of the perceived flaws were, if not hallmarks, at least accepted realities of Italian opera composing. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. I approach opera fantasias, instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material, both historically and theoretically, concentrating on compositions written for and by woodwind-instrument performers in Italy in the second half of the nineteenth century. Important overlapping strands in my theoretical framework include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. I have uncovered a large body of compositions and composers, many of whom have not been written about in English, through archival research in Milan, Naples, Parma, Bologna, and Palermo. This reveals trends in operas used for fantasias, temporally, spatially, and between instruments, as well as further trends in the use of specific melodies. I use contemporary reviews of performances and compositions to attest to the popularity of the opera fantasia throughout the second half of the nineteenth century in Italy, including oboist Antonio Pasculli as a case study. This often overlooked genre is intimately tied to the central canon and deeply connected to its social and musical contexts. Approaching the opera fantasia as a coherent and meaningful group of works clarifies a genre that has been consciously stifled and cultural resonances that still impact music reception and performance today.