No abstract available. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

No description available.

Alexander Scriabin's piano sonatas are largely regarded as the most significant works in the genre since Beethoven. They outline the development of his compositional style from the youthful Chopinesque works, to his mature, idiosyncratic post-tonal offerings. According to his close friend, biographer, and critic Leonid Sabaneyev, despite Scriabin's philosophy suffering “from too many manifest faults”, his late music is “incomprehensible and incomplete” when “severed from his philosophy”. Consequently, this treatise focuses on Scriabin's unique compositional voice through an examination of his idiosyncratic musical gestures, and the points of their interaction/intersection with his eclectic philosophizing. Recognizing the absence of a substantial interpretive system that reconciles Scriabin's music with his philosophical outlook in the available Scriabin-scholarship, this dissertation investigates the impact of his mystical beliefs upon his compositional style. This is largely achieved through the identification and scrutiny of symbolic gestures in his idiosyncratic pianistic style. Part 1 constitutes the examination of Scriabin's symbolic gestures that routinely feature in his late works: unity, summons, light, flight, occult, resonance, sensuality, eroticism, ecstasy, and transformation/dissipation. Part 2 discusses Sonata no.8, which stands to benefit the most from a gestural reading, due to the near absence of the composer's customary vivid French annotations. A brief discussion regarding issues of interpretation and performance of that sonata and Scriabin's late keyboard works completes this dissertation. The investigative method outlined above, in synergy with the composer's complex beliefsystem, develops a new gestural framework for perceiving and interpreting Scriabin's work; one that blurs the conventional distinctions between musicologist and performer, enabling informed conceptualizations and gestalt performances of these ‘symbolist' works. Sonata No.8 is used as a matrix upon which this theoretical approach is applied. Through relative comparisons and references to the other late sonatas, the Eighth is proffered as an interpretive model upon which analogous interpretations may be based.

This thesis is the result of practice-based research concerning the analysis and performance of solo recorder repertoire composed during the 1990s. Its purpose is to demonstrate that recorder music can support critical scrutiny, and that knowledge gained from analysis can develop a deeper understanding of the rational and empirical aspects of both structure and content, leading to compelling performances governed by, and reflecting, informed choices. This work includes a catalogue of solo pieces for the recorder composed during the 1990s, totalling 326 items, from which five have been selected for detailed analysis and performance. They are by: Peter Crossley-Holland; Calliope Tsoupaki; Donald Bousted; Gerhard Braun, and Maki Ishii. These pieces have been contextualised with reference to some of the important aesthetic concepts prevalent in the 1990s, particularly those regarding conservative and progressive ideas. Three methods of analysis have been used for the repertoire in focus: structural, paradigmatic, and parametric, leading to an understanding of the compositional process at both macro and micro levels. The repertoire demands a vast range of instrumental techniques, many rediscovered from historical treatises as much as from avant-garde style experimentation, including microtones, percussive, and vocalized sounds, providing a serious challenge to both the performer and the instrument. Each is discussed within the context of the selected pieces. The effects of globalisation at the end of the twentieth century are evidenced in the selected composers' use of ideas from many cultures, including historical references to early Western music, as well as to those of Japan and Indonesia. Specific references are made to Derrida and 'différance', and the influence of the Japanese aesthetic and structural principles of 'wabi sabi' and 'jo ha kyū'.

The subject of this thesis is the design documentation for three floor object with basement. Object art school includes a concert hall. The object is located in Zábřeh and will be built in existing buildings in the city center. The building will be used for teaching and training of 500 pupils, the concert hall is for 100 visitors and 30 performers. In the basement there is a technical background - boiler room and utility room, dancing hall with accessories and several classrooms. On the first floor there is room for ventilation, facilities for pupils and their parents, dressing room, classroom for orchestr, which includes a recording studio, classroom for drums and several classrooms for the solo instrument. The Concert Hall is also located on first floor and is divided into two parts. Part for visitors, where is located treasury, foyer, dressing room and concert hall. In the part for performers are separate changing rooms and kitchen. The second floor is partially defined by the school management - there are director's office, secretariat, staff room, day room for teachers and classrooms. The third floor will serve particularly dramatic and visual department, there will be six classrooms for solo instrument or singing. Art School has three main entrances - entry to school, entrance to the concert hall for visitors and a separate one for acting. Facilities for performers is connected to the testing orchestral playing. The land is gently sloping toward the southeast. In all parts of the school will be shed roof with slight slope.

Thesis (Ph. D.)--University of California, Los Angeles, 2008. / CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.