Dieter Schnebel's String Trio from 2007-2009 is a spatial sound composition that features unique visual components within a traditional string trio setting. This research provides performers and audiences a more thorough understanding of the String Trio and its evocative aesthetic qualities, by identifying and organizing the ways in which the visual and musical material interact. To provide context for String Trio, a brief overview of Schnebel's compositional style and influence on avant-garde musical trends of the latter half of the twentieth century is provided in chapter 2. Special consideration is given to his instrumental chamber music and works for string instruments. In chapter 3, the prior musical analysis and aesthetic context provides a basis for the many conceptual implications resulting from the incorporation of theatricality into a typically non-theatrical genre. The performers' roles within the ensemble and the ways in which they relate to one another as well as their audience, are illuminated and ultimately contribute to a deeper, enhanced experience of the piece. Expectations and traditional notions concerning formal, classical music etiquette are also explored through Schnebel's complex directional changes in orientation and unconventional utilization of the performance space.

Thesis (M. Mus)--University of Adelaide, Dept. of Music Studies, 1993?

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire expose les résultats de mon projet de recherche, qui consistait à élaborer et tester ma démarche compositionnelle s’appliquant aux musiques de pratique électroacoustique, instrumentale et mixte. Mon intention était d’uniformiser et de systématiser mon approche s’inscrivant essentiellement dans l’esthétique des romantiques. J’y combine musique à programme, partitions graphiques et autres techniques modernes de composition. Le premier chapitre est consacré à la description détaillée et commentée des trois étapes qui constituent mon travail de création : le programme, l’analyse ainsi que la structure et la forme. Pour expérimenter cette approche, j’ai composé trois pièces : Le chat noir, pièce mixte pour gamelan, bandes et traitements en temps réel et inspirée d’une nouvelle d’Edgar Allan Poe, La nébuleuse de la tour, pièce électroacoustique basée sur une partition graphique exécutée par une guitare et un trombone et, comme troisième pièce, Le livre de Thot, pour trio à cordes et piano, présentée en quatre mouvements inspirés d’autant de cartes du tarot. Les trois pièces sont décrites et analysées en fonction de ma démarche aux chapitres deux, trois et quatre, respectivement. / This thesis presents the results of my research project which consisted in elaborating and testing my compositional approach in three musical forms, namely, electroacoustic, instrumental, and mix. My aim was to systematize my approach—which belongs essentially with romantic aesthetics—and to make it uniform by combining program music, graphic partitions, and other modern compositional techniques. The first chapter is devoted to the detailed and commented description of the three stages of my creation process : program, analysis, as well as form and structure. To test my approach, I have composed three pieces, 1- Le chat noir, a mixed piece for gamelan, recording and real-time processing inspired by a novel by Edgar Allan Poes, 2- La nébuleuse de la tour, an electroacoustic piece based on a graphic partition and performed on guitar and trombone, and 3- Le livre de Thot, for string trio and piano and performed in four movements inspired by four tarot cards. These three pieces are described and analyzed in chapters two, three, and four respectively.

Younghi Pagh-Paan is an internationally renowned contemporary Korean-German composer. While her music has been strongly influenced by German contemporary musical aesthetics, her compositions also possess Korean musical and cultural influences. In her works, Pagh-Paan employs Western instruments and musical languages that incorporate contemporary techniques such as vibratos, flatter tonguing, pitch bends, and legato glissandi. These effects are thought to imitate the sounds created by traditional Korean instruments. Man-Nam I, for clarinet and string trio, was the second work that Pagh-Paan composed following her move from Korea to Germany. The piece includes many sounds representative of traditional Korean instruments, along with significant symbolism of the sociological background, culture and history of Korean people. The study of Man-Nam I focuses on unraveling hidden elements of Korean traditional music and culture, and addresses the need for the performers to understand its rich Korean influences in order to reach a deeper interpretation of Pagh-Paan's work.