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An examination of the role and musical development of the contrabassoon throughout the different periods. The study is being made through analyzing various common orchestra excerpts, both in themselves and in relation to the scores. Furthermore, the thesis contains my own ideas of and reflections on the excerpts.     In the end I will briefly touch the subject of how the contrabassoon is being used in contemporary pieces and how it is constantly being developed. / <p>Francois Devienne (1759-1803): Quartet in G minor op. 73 No. 3</p><p>1. Allegro con espressione</p><p>2. Adagio, non troppo</p><p>3. Rondo. Allegretto poco moderato</p><p>Medverkande:Adam Høier, violin. Therese Magnusson, viola. Samuel Lazar, cello.</p><p>Camille Saint-Saens (1835-1921): Sonata pour bassoon et piano in G major, op. 168</p><p>1. Allegro moderato</p><p>2. Allegro scherzando</p><p>3. Molto adagio–allegro moderato</p><p>Medverkande: Johan Ullén, piano</p><p>Francis Poulenc (1899-1963): Trio pour hautbois, bassoon et piano, FP 43</p><p>1. Presto 2. Andante 3. Rondo</p><p>Medverkande:Anna Randelin, oboe. Johan Ullén, piano.</p><p>In addition to</p><p>a recording of the excerpt Salome</p><p>The recordings have been archived.</p><p>CD-recording: Mulberry Street Symphony by Anders Koppel, Benjamin Koppel, Scott Colley, Brian Blade, Martin Yates &amp; Odense Symphony Orchestra. Unit Records. UTR5028</p><p></p>

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Serge Koussevitzky, conductor of the Boston Symphony Orchestra from 1924-1949, had, throughout his career, a reputation as a champion of modern music. The anticipation of his arrival in Boston in 1924 sparked a great deal of public debate about his reported modernism which the critics reflected and contributed to. This thesis analyzes the critical reaction, preserved in scrapbooks of newspaper clippings at Symphony Hall, Boston, to Koussevitzky's programming of contemporary music during his first five years with the BSO.

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Shanghai Symphony Orchestra is a fascinating institution. It was first founded in 1879 under the name of Shanghai Public Band and was later, in 1907, developed into an orchestra with 33 members under the baton of German conductor Rudolf Buck. Since Mario Paci, an Italian pianist, became its conductor in 1919, the Orchestra developed swiftly and was crowned the best in the Far East by a Japanese musician Tanabe Hisao in 1923. At that time, Shanghai was semi-colonized by the International Settlement and the French Concession controlled by the Shanghai Municipal Council and the French Council respectively. They were both exempt from local Chinese authority. The Orchestra was an affiliated organization of the former: the Shanghai Municipal Council. When the Chinese Communist Party took over mainland China in 1949, the Orchestra underwent dramatic transformations. It was applied as a political propaganda tool performing music by composers from the socialist camp and adapting folk Chinese songs to Western classical instruments in order to serve the masses. This egalitarian ideology went to extremes in the notorious 10-year Cultural Revolution. Surprisingly, the SSO was not disbanded; rather it was appropriated by the CCP to create background music for revolutionary modern operas such as Taking Tiger Mountain by Strategy. The end of Cultural Revolution after Mao's death in 1976 ushered in a brand new Reform-and-Opening-up era marked by Deng Xiaoping s public claim: Getting rich is glorious! Unlike previous decades when the Shanghai Symphony Orchestra together with music it performed was made to entertain the general masses, elitism came back under a social entourage characterized by Chinese-style socialism. The concept of elite, however, is worth a further thought. Shanghai is not only home to a large number of Chinese middle class but also constitutes a promising paradise for millions of nouveau riches which resembles, to a great extent, the venture land for those Shanghailanders a century ago. This thesis, as the title indicates, puts the historical development of the Shanghai Symphony Orchestra from 1879 to 2010 in C major applying Pierre Bourdieu's cultural capital theory so as to understand how this extraordinary musical currency is produced, represented, appropriated and received by different groups of people in Shanghai across five distinct historical stages. Cultural appropriation tactics and other relevant theories such as cultural imperialism and post colonialism are also combined to make sense of particular social environment in due course. To put the SSO in C major does not infer that this musical institution and music it performed through all these years are reduced to economic analysis. Nonetheless, the inner value of music itself is highlighted in each historical period. A psychological concept affordance, first applied by Tia DeNora in music sociology, is also integrated to help comprehend how and what Chinese people or the whole nation latched on to certain pieces of music performed at the SSO in different historical phases. Moreover, musicological analysis is carried out in due course to elaborate on the feasibility of, for example, adopting Chinese folk songs to Western classical instruments and creating a hybrid music type during Cultural Revolution. Aesthetic value of music is thus realized in the meantime. Archival research is mostly used in this thesis supplemented by one focus group and one in-depth interview with retired players at the SSO. Fieldwork of this research is mainly based in the Shanghai Symphony Orchestra Archive; although materials from Shanghai Library and Shanghai Municipal Archive are also collected and made use of.

Multimedia performances, uniting music and interactive images, are a unique form of entertainment that has been explored by artists for centuries. This audio-visual combination has evolved from rudimentary devices generating visuals for single instruments to cutting-edge video image productions for musical groups of all sizes. Throughout this evolution, a common goal has been to create real-time, audio-responsive visuals that accentuate the sound and enhance the performance. This paper explains the creation of a project that produces real-time, audioresponsive and artist interactive visuals to accompany a live musical performance by a symphony orchestra. On April 23, 2006, this project was performed live with the Brazos Valley Symphony Orchestra. The artist, onstage during the performance, controlled the visual presentation through a user interactive, custom computer program. Using the power of current visualization technology, this digital program was written to manipulate and synchronize images to a musical work. This program uses pre-processed video footage chosen to reflect the energy of the music. The integration of the video imagery into the program became a reiterative testing process that allowed for important adjustments throughout the visual creation process. Other artists are encouraged to use this as a guideline for creating their own audio-visual projects exploring the union of visuals and music.

This is a support document for the composition entitled River of Memory, a 22- minute work for jazz band and symphony orchestra. In the introductory section, my approach to the form, orchestration and content of this piece is described, as are the challenges inherent to the process. Each step of bringing this piece to fruition is addressed, from its conception to the logistics of its performance. Detailed musical analysis forms the core of this document. This analysis provides an examination of the concepts and techniques manifest in this work, and a thorough exploration of the melodic, harmonic, and thematic material it contains. / text

Thesis (Ph. D.)--University of Wisconsin--Madison, 1967. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.