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Emerging Light: for wind ensembleMaloy, Kristopher 28 August 2008 (has links)
Not available / text
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Emerging Light : for wind ensembleMaloy, Kristopher 09 August 2011 (has links)
Not available / text
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3x5 for concert band ; an analysis of the numerical bases of rhythm, gesture, melody and formAskim, Peter Andrew, 1971- 10 August 2011 (has links)
Not available / text
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Horizon : for wind ensemble : creating narrative in post-serial tonalityHarchanko, Joseph, 1971- 18 August 2011 (has links)
Not available / text
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Polish ragtimeHawk, Kenneth G., 1926- January 1969 (has links)
No description available.
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Around the clock; suite for piano and orchestraBuchhauser, Andrew William, 1910- January 1938 (has links)
No description available.
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Andante and allegro, by J Barat; trombone solo with band accompaniment, arranged by Raymond H. KeltonBarat, J. Ed. (Joseph Edouard), 1882- January 1942 (has links)
No description available.
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Chorale-preludes no. 43, 15, 7, arrangements for bandRein, Jack Carlo, 1931-, Bach, Johann Sebastian, 1685-1750. January 1967 (has links)
No description available.
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CompositionsMuyco, Maria Christine 05 1900 (has links)
The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig,
and Talibun-ag.
"Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the
instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and
rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in
essence, a destination of one's life journey.
"Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition
revolving around a hextatonic scale which goes through a process of change as the music progresses.
The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her
sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which
means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she
frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials
common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections
(ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic
scale is the composer's own material injected to some pre-formed structure already existing as in the
mentioned ballad.
"Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during
a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot,
tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note
that the recording provided with this thesis is simply a reading session of the piece).
"Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if
combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto
flute and percussions), a mono-dramatist and a choral quartet.
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Concerto for violin (with contact microphone) and orchestra by William Edward Miller. / Concertos,Miller, William Edward. January 1976 (has links)
No description available.
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