Rhapsody for Saxophone and Orchestra is a work of 15 minutes duration, scored for solo alto saxophone, flute (doubling piccolo), oboe, clarinet, bassoon, horn, timpani, percussion, piano, and strings. Within the work, an invented harmonic structure is combined with a freely improvised melody that is subjected to a large-scale formal process of phrase expansion and contraction. Layers of musical activity, involving interval templates (defined as invariant patterns of pitches), phrase-lengths, melodic contour, referential rhytlimic gestures, and pedal-notes are set in motion from the outset. While operating independently, these musical elements converge at major section points in the work, of which there are ten. The ultimate aim is to devise engrossing musical textures that embody variation within coherence, and possess strong goal-directionality. The method of composing with interval pairs represents a novel approach to harmony, and the resulting harmonic structures underlie much, but not all of the work. In terms of melody, the predominantly step-wise and back-circling (melody which moves away from then back towards a central tone) character is also of great significance in the work, providing the basis for much canonic imitation. The commencement of a new section in the work is often marked by two gestures: a treble pedal figure, and a "bouncing" figure, which occur in the first and last quarters of the work. Examination of larger-scale structures designated as "super-sections" (each comprising three or four sections) reveals the systematic phrase expansion and contraction that juxtaposes sections with short phrases next to those with long ones. This expansion and contraction of phrases creates the ultimate structure of the work.

Rhapsody for Saxophone and Orchestra is a work of 15 minutes duration, scored for solo alto saxophone, flute (doubling piccolo), oboe, clarinet, bassoon, horn, timpani, percussion, piano, and strings. Within the work, an invented harmonic structure is combined with a freely improvised melody that is subjected to a large-scale formal process of phrase expansion and contraction. Layers of musical activity, involving interval templates (defined as invariant patterns of pitches), phrase-lengths, melodic contour, referential rhytlimic gestures, and pedal-notes are set in motion from the outset. While operating independently, these musical elements converge at major section points in the work, of which there are ten. The ultimate aim is to devise engrossing musical textures that embody variation within coherence, and possess strong goal-directionality. The method of composing with interval pairs represents a novel approach to harmony, and the resulting harmonic structures underlie much, but not all of the work. In terms of melody, the predominantly step-wise and back-circling (melody which moves away from then back towards a central tone) character is also of great significance in the work, providing the basis for much canonic imitation. The commencement of a new section in the work is often marked by two gestures: a treble pedal figure, and a "bouncing" figure, which occur in the first and last quarters of the work. Examination of larger-scale structures designated as "super-sections" (each comprising three or four sections) reveals the systematic phrase expansion and contraction that juxtaposes sections with short phrases next to those with long ones. This expansion and contraction of phrases creates the ultimate structure of the work. / Arts, Faculty of / Music, School of / Graduate

Hungarian pianist, composer, conductor, teacher and administrator, Ernst von Dohnányi (Ernö Dohnányi in Hungarian), was considered one of the most versatile musicians and the first architect of Hungary's musical culture in the late nineteenth and early twentieth-century. Dohnányi composed the Four Rhapsodies, op. 11, between 1902 and 1903, and among his many piano compositions, op. 11 are regarded as some of his most substantial works. Without directly imitating the earlier works of Liszt and Brahms, Dohnányi contributed to the rhapsody tradition with op. 11 by using his own unique stylistic compositional elements in the textural and formal structure. Texture and form are the most indicative characteristics of his rhapsodic language because of the improvisational nature that permeates his compositional style in the rhapsodies. In this dissertation the works are examined from within its textural and formal structure. Within texture, rhythm and accompanimental figurations are examined. Each rhapsody's structural organization, including references to eighteenth-century forms, and the cyclical elements in the work is analyzed. Background information on Dohnányi and a brief history of the rhapsody in the 19th century is also included.

Liszt's Hungarian Rhapsodies are uniformly considered highly challenging in terms of technical execution. However, their artistic value is frequently questioned. This dissertation examines the compositional elements that are often overlooked in these virtuoso works, and provides a viewpoint into their interpretative characteristics. Furthermore, it pursues a claim that besides being excellent performance pieces, these works also make an intriguing contribution to Liszt scholarship, and deserve meaningful consideration in terms of their artistic quality. Following the Introduction (Chapter 1), Chapter 2 provides a brief historical perspective of the critical affirmation Liszt the composer encountered from the musical society. It also includes a short background on Liszt's Hungarian Rhapsodies, as well as the general reactions these works evoked from pianists, audiences, and scholars, during the time they were composed to the present day. As the main body of the dissertation, Chapter 3 investigates the three primary compositional concepts found in Rhapsodies Nos. 6, 10, and 12. These concepts are divided into three subchapters: Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects. Each of these subchapters provides explanatory information, as well as some of the most characteristic passages presented.

No description available.

This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The study concludes that the arrangement by Rousseau is more attractive to saxophonists and will be performed more frequently than the Durand reduction.

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Rapsodies pour voix, clarinette, alto, et piano is a set of three songs by Charles Martin Loeffler (1861-1935) with text by Maurice Rollinat (1846-1903). The songs were composed in the summer of 1898 but never published during Loeffler's lifetime. This study compares Loeffler's holograph and copyist scores, showing differences in pitch, rhythm, and various articulation markings. Loeffler and Rollinat's biographies are included, along with scans of the holograph and copyist scores.