No description available.

No description available.

White Dawn Streams is a composition for orchestra with tape. The orchestra includes woodwinds (flute, oboe, clarinet, bassoon), brass (horns(2), trumpets(2), trombone, tuba), percussion (timpani, bass drum, snare drum, tom-toms, timbales, temple blocks, suspended cymbal, triangle, xylophone), and strings. The tape was produced using a Synclavier digital synthesizer. The work consists of a single movement approximately eleven minutes in duration. The pitch materials in the work are derived from a single series of pitches and are used in a contrapuntal texture.

by Ho Siu Wa, Albert. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1996. / First Movement --- p.1 -10 / Second Movement --- p.11 -20 / Third Movement --- p.21 -32

by Hui Cheung Wai. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997. / Chapter 1. --- String Quartet No2 / Chapter a) --- programme notes --- p.I. i -ii / Chapter b) --- music score / Chapter ´Ø --- 1st movement --- p.1-15 / Chapter ´Ø --- 2nd movement --- p.16 -25 / Chapter ´Ø --- 3rd movement --- p.26-51 / Chapter 2. --- """Disappearance"" for orchestra" / Chapter a) --- programme notes --- p.II. i -iv / Chapter b) --- music score --- p.1-46 / Chapter 3. --- """Wu Wu"" (Sorcery Dance) for piano" / Chapter a) --- programme notes --- p.III. i -ii / Chapter b) --- music score --- p.1-12

Ng Cheuk-yin Peter. / Thesis submitted in: Dec 2000. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2001. / Abstracts in English and Chinese. / Chapter Composition 1 --- The City that Never Sleeps 《不夜城》 for Chinese Orchestra / Chapter Composition 2 --- The Clouds 《行雲》 for Chinese Orchestra / Chapter Composition 3 --- Flowers 《花》 for and Harp / Chapter Composition 4 --- Static Days for orchestra

The rationale for this portfolio of original compositions was to investigate particular ideas in relation to the use of dissonance, and in particular harmony, to represent the concept of darkness in an emotional and visual sense. The notion that harmony and dissonance can evoke emotions was developed through research into literature of music and the mind. Theories of harmonic dissonance, acoustic, physiological and psychological were studied including those of Helmholtz, Greenwood, Plomp and Levelt, Stumpf and Cooke. The compositions are divided into two parts, two orchestral works that are an evocation of underground locations, and the second part which is devoted to three small chamber works that investigate the darker emotions of child psychology, looking at phobias, dreams and psychological perceptions: 1. Mary King’s Close - flute, clarinet, bassoon, horn, trumpet, trombone, piano, 2 percussion, 2 violins, viola, cello, double bass. 2. Limbus Infantium - flute, soprano voice, piano, harp. 3. Nocturne - 2 trumpets, horn, trombone, euphonium, tuba, 2 percussion, recorded text. 4. Symphony 2 ‘The Caves’ - symphony orchestra 5. Voices - 2 violins, viola, cello The portfolio of compositions begins with the use of dyadic harmonic intervals derived from modal themes, and the subsequent compositions expand and develop these ideas culminating in a complex use of small harmonic cells which relate to subtle light illuminations in the underground caves, and the psychological depth of perception of children in the final works. / Thesis(PhD)-- Elder Conservatorium of Music, 2007

Not available / text

Not available / text

No description available.