Por meio da mútua colaboração, compositores e intérpretes sempre buscaram novas maneiras de explorar as possibilidades sonoras, tímbricas e técnicas dos instrumentos. Na música contemporânea, essa busca revela-se principalmente no que chamamos de técnicas estendidas. Este estudo tem como objetivo investigar, sob a ótica da cooperação compositor-intérprete, as técnicas estendidas aplicadas nas obras Vitrais, para fagote, cordas e percussão, composta por Nelson Almeida, e Fantasia, para fagote e piano, composta por Ricardo Brafman. Traça-se um panorama histórico da parceria entre o compositor e o intérprete ao longo da história da música, no qual se discute a importância de todo esse processo colaborativo. Em se tratando da música composta a partir do século XX, como é o caso das peças em questão nesta pesquisa, a metodologia utilizada baseia-se, principalmente, nos trabalhos do compositor italiano Bruno Bartolozzi e do fagotista italiano Sérgio Penazzi, que desenvolveram trabalhos colaborativos nas pesquisas relacionadas às técnicas estendidas. Além disso, por meio dos diálogos, das comunicações pessoais e das entrevistas realizadas pelo autor deste trabalho com os compositores Nelson Almeida e Ricardo Brafman, relatamos todo o processo composicional que envolveu as referidas peças. Ao focar na interpretação das obras, este trabalho traz a análise em duas partes. A primeira, sob o prisma das particularidades individuais das técnicas estendidas aplicadas, tece considerações acerca de dedilhados e das maneiras de execução. A segunda parte destaca os aspectos da forma, do ritmo, do timbre e textura e dos materiais musicais usados. Pela cooperação, obtiveram-se resultados satisfatórios na aplicação das técnicas estendidas utilizadas tanto em Vitrais quanto na Fantasia. Dessa forma, o processo colaborativo mostra-se eficiente como uma ferramenta importante no auxílio da busca do material sonoro esperado pelos compositores. / In their collaborations, composers and performers have always sought to find new ways of exploring musical instruments sonic, timbral and technical possibilities. In contemporary music today, that exploration is noticeable above all in what are called extended techniques. The present study\'s objective is to investigate, from the perspective of composer-performer collaboration, the use of extended techniques in the following works: Vitrais, for bassoon, strings and percussion, composed by Nelson Almeida, and composer Ricardo Brafman\'s Fantasia for bassoon and piano. The study offers a historical view of collaborations between composer and performer throughout the history of western music, and the importance of all this joint work is discussed. The present study focuses on works from the twentieth century; for that reason the methodology employed is based principally on the work of the Italian composer Bruno Bartolozzi, as well as that of the Italian bassoonist Sergio Penazzi. Both undertook collaborative projects in their research relating to extended techniques. In addition, the present study describes the compositional process involved in the aforementioned compositions, by means of dialogue, personal communications and interviews undertaken by the researcher with composers Nelson Almeida and Ricardo Brafman. The interpretation of these works is also discussed here, being analyzed from two perspectives. The first of these involves the specific details of the extended techniques employed; fingerings and means of execution are discussed. The second part highlights those elements of form, rhythm, timbre and texture and musical materials that were used. The collaboration that took place led to satisfactory results in the employment of extended techniques both in Vitrais and in the Fantasia. The collaborative process can thus be seen to be effective as an important tool, aiding in the search for the sonic results desired by the composers.

Over the past ten to fifteen years, there has been a trend to perform multicultural choral works in the United States, including Chinese music. Although there are a number of studies about Chinese choral music, there is not much written specifically on Hong Kong choral music. Lin Sheng-shih was one of the most important Hong Kong music leaders in the twentieth century. Lin, an immigrant from mainland China, was a patriotic musician who dedicated his life to promoting Chinese music through his professional career in Hong Kong. This study confirms that he contributed tremendously to his new home. Chapter One contains a brief historical and sociological background of Hong Kong choral music under British sovereignty and the biographical overview of Lin’s life into four periods from his early life in China to his immigration to Hong Kong. Chapter Two presents findings of Lin’s philosophical beliefs as an educator, composer and conductor through his own writings. Last, Chapter Three contains a discussion and analysis of his compositional styles chronologically with supporting examples from fifteen of his most representative choral works. The analysis leads to a greater understanding of the development of his evolving compositional style, from his continual search for new techniques in Western Classical-Romantic style to his use of Chinese elements with effective and illustrative piano accompaniments. This study illustrates that through his distinctive compositional periods, he combined Chinese idiomatic sonorities with Western compositional techniques in order to create his own voice.

Lili Boulanger (1893-1918) is the first female composer to win the Prix de Rome in France. She had an early death due to Crohn¡¦s Disease at the age of twenty-four. During her brief and difficult life, she completed more than thirty musical pieces, one third of which were choral works. The 1913 Prix de Rome award is a clear line of demarcation of Lili's choral compositions. The early secular choral works, composed for the preparation of the first round of Prix de Rome(1911 to 1913), are much less known; her four well-known grand sacred choral works¡Ð¡§Psaume 24¡¨, ¡§Psaume 129¡¨, ¡§Psaume 130¡¨ and ¡§Vieille prière bouddhique¡¨¡Ðwere written between 1913 and 1918. Regrettably, the early secular works have been overwhelmed by the four splendor sacred works in the past century. Nine of the early works survive, and they were: ¡§Sous bois¡¨, ¡§Renouveau¡¨, ¡§Les sirènes¡¨, ¡§Soleils de septembre¡¨, ¡§Pentant la tempête¡¨, ¡§La source¡¨, ¡§Hymne au soleil¡¨, ¡§Pour les funérailles d¡¦un soldat¡¨ and ¡§Soir sur la plaine¡¨. The lyrics are from nineteen-century French poems; the music has such extreme intensity, dramatic power, demanding vocal techniques, as well as challenging piano skills. This thesis consists of five parts: an introduction, a basic review of Lili Boulanger¡¦s life and works, the analysis of the nine secular choral works, the interpretation of the works and a conclusion. There are also three appendices attached. Appendix 1 offers the translation and a pronunciation guide of the nine works. Appendix 2 is the program of the conducting recital. Appendix 3 is the program of the lecture recital.

The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (1996/1997), making use of the composer's sketches, interviews and other scholarship, to illustrate how the composer blends Western instrumentation and formal structure with elements of traditional Chinese music and philosophy. The analysis reveals how Pan uses modern European compositional techniques such as symmetrical pitch structure, arch forms, and avant-garde performance practices in the Concerto. The author also discusses performance techniques required of the solo violist and other orchestral instruments in order perform the style of Chinese heterophonic music evoked in the Concerto and to realize the ornaments and special performance effects that Pan borrows from traditional Chinese instruments, such as the lute-like pipa.

<p>Abstract</p><p>Exploring two main lines of inquiry, this dissertation investigates the style and aesthetic of the music of Joseph Joachim (1831-1907) and its references to composers such as Brahms, Liszt, Schumann, and Beethoven. First, rather than simply accepting the image of Joachim as the great nineteenth-century violinist and collaborator of Johannes Brahms who advocated the "canonization of the music of Bach, Beethoven, and Brahms," I ask who Joachim was in light of his own compositions and literary circle. Especially significant was his "soul mate" Gisela von Arnim (daughter of Bettine von Arnim), from the second generation of two major literary "institutions" - the Grimm brothers and Arnim/Brentano, the Des Knaben Wunderhorn-collectors. Joachim and Gisela's literary role-play throws light on her function as his inspiration and muse. Second, each chapter investigates Joachim's works as "psychological music," the term he himself applied. Given that psychology was not yet an established academic discipline in the 1850s, Joachim's use of "psychological" is all the more intriguing. </p><p>Sources including archival letters, manuscripts, and Joachim's published correspondence, as well as his compositions from (or begun) in the 1850s, reveal that "psychological music" was both a compositional approach and an aesthetic. Extensively using ciphers, anagrams, song quotations, literary titles and allusions, and occasionally melodramatic elements, Joachim's compositional aesthetic conflicted with his "absolute" aesthetic as a violinist in the later 19th century. </p><p>Joachim's relatively strict use of form, his idiosyncratic use of "motivic transformation," and his expressive studies of literary/historical characters in his overtures separated him from Liszt. Furthermore, while Joachim navigated harmony in ways criticized by Louis Spohr and contemporary critics as "ear-tearing harshness" (1852), the composer maintained an almost consistently symmetrical ("four-square") syntax. Joachim's "psychological" aesthetic was typified by idiosyncratic, individual stylistic features like "trapped motives," captured by (sometimes obsessive) repetition, and he applied ciphers much more conspicuously than did Schumann. In the end, Joachim's "psychological music" displays three overarching features: first, extramusical programs from autobiographical and/or literary contexts; second, the implicit or explicit dedication of the works to Gisela von Arnim; and third, supporting correspondence marking the work as an "outlet" for Joachim's self-perceived, psychological inner turmoil.</p> / Dissertation

Within this thesis we map the Value-Chains of the Swedish market for Production Music. The reason behind this is that the authors believe this sub-segment of the music industry to be relatively unexplored by business research. Thus increased knowledge should increase transparency for all market actors. We have gathered previous research regarding value chains in the music industry and compare this research to empirical findings on the Production Music Industry.  These findings are primarily gathered from three interviews with individuals in well informed positions within the industry. The three interviews are also backed up by secondary information found through industry websites and other vendors. Analysis indicates that there are two general forms of Value-Chains in the Production Music Industry that are significantly different from each other, and that these are either centered around the Swedish Performing Rights Organization STIM, or the relatively new internet based music library called Epidemic Sound. Specific forms of value delivered back and forth within these value chains consists of everything from education and coaching in production techniques, to monetary compensation and recognition. Analysis also shows that while there is a rather big difference in how the two general value chains are constructed, there seems to be less variation when it comes to how these value chains are governed.

The purpose of this study was to examine and describe the process entailed in commissioning a new work for a high school music ensemble with a focus on the interpersonal relationships that exist among the student performers, their director, and the composer during a composer residency. With a multiple case study design, I examined the commissioned works projects of five cohorts that included one composer, three student performers, and one commissioning conductor. Each of the composers and commissioning conductors selected for participation in the study possessed extensive experience with commissioned works projects in school settings enabling them to draw on their past experience, as well as their experience working together on a commissioned work. The student performers were selected for the study based on their participation in a commissioned work project that included a composer residency with the commissioning conductor and commissioned composer associated with each cohort. Data was collected through interviews with the members of each cohort. Interview questions focused on understanding how each agent (student performer, music teacher, composer) contributes to the process of producing a new work through commission, how the interpersonal relationships between the agents function throughout the process, and how the outcomes of the process impact the agents’ experiences. The data gathered in the interviews was analyzed in light of these three foci and then re-examined to uncover themes common to multiple agents. Finally, the data was evaluated to determine how this information might shape future commissioning projects. I believe that the results of my investigation point to a greater understanding of the processes involved with the commissioning of a work, as well as the interpersonal relationships that exist within those processes. The results of my investigation formed a foundation for the construction of a concluding narrative providing step-by-step details that might be informative for music educators considering embarkation upon a commissioned work project.

Writing for solo instruments today offers composers an option to create a framework that results from the psychoacoustic interaction of composer, listener and performer. The interaction between musicians, audience and the concert environment, and the extent to which they themselves embody the material of the music presented, can be called into question and a composer's expectation of the dynamics of the concert situation is part of this examination. This understanding in turn prepares the way for one of the ultimate challenges and achievements for a composer, writing an opera. Opera combines all the other arts with the composer in command, which is not the case when composing for dance or providing auxiliary music for theatre. Writing an opera means that all features of structure and timing are in the composer’s hands. Opera has had a crisis of identity; the market for traditional operas and classic repertoire but there is no overall identity for contemporary operatic writers. However modern opera is still evolving. This thesis will recount a range of musical ideas developed for a variety of classical solo instruments, all of which attempt to create this interactive concert situation, before going on to consider the three year evolution of my opera The Doll Behind the Curtain.

abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement. / Dissertation/Thesis / Masters Thesis Music 2016