My Concerto for Marimba Quartet and Orchestra is designed to be a showcase for marimba ensemble, within the context of a traditional orchestral concerto. It is comprised of three movements. The language of the concerto is at times pluralistic, and at other times homogeneous. The music plays with repetition, simplicity, variability and persistence. The three movements that comprise this concerto are each designed to capitalize on the unique sound of the marimbas in combination with other instruments. In the first movement a small three-note motive (carefully selected to be easy to play rapidly with mallets) is translated from the marimbas to the ensemble to create homogenous textures that develop harmonically using pattern and repetition. The second movement is an exploration of the elasticity of rhythm. It sets the marimbas against still chords in the orchestra. It also employs a heightened level of chromaticism in passages that contrast with diatonic chords that are built from the three- note motive of the first movement. The final movement is an exploration of ensemble virtuosity. Rhythms and harmonic material are passed throughout the soloists and orchestra. This movement is designed to play with repetition and the expectations of a rondo form. Material from the two previous movements is recapped at the end.

The history of the development of the piano works for left-hand has spanned for more than one hundred and fifty years, and the piano concertos for left-hand, which made special historical significance in the concerts, were mostly written for one-arm pianist Paul Wittgenstein. The purpose of the thesis is the study of the stylistic features of one-movement piano concertos for one-hand, including Concerto pour la main gauche by Ravel, Parergon and Panathenaenzug by Richard Struass, and Diversions by Britten. The discussions contain the structure, form, orchestration, and performing technique. The contents of the thesis includes four chapters, in addition to the introduction. The first chapter discusses the general historical background for the creation of left-hand playing, and the development of the creation of the piano works for left hand. The second chapter is basic literature research for the piano concertos for left hand, and introduces the creative background to four piano concertos for left hand. The third chapter emphasizes the detailed analysis of the piano concertos for left hand of the selected works of Ravel, Richard Strauss and Britten. In the four left-hand piano concertos, Concerto pour la main gauche and the Parergon are designed in multi-sectional stracyure, the Panathenaenzug is planted for a symphonic studies in Passacaglia form and the Diversions is in a form of thematic variations in which each variation is characteristic in different title. In addition, composers frequently make use of the different instrumental colors of orchestra to replenish the lacks of rich acoustics of the piano playing, including accompaniment, support of harmony, momentum and dynamic of sounding expression. Richard Struass¡¦s Panathenaenzug employs the glockenspiel and celesta to enrich the sounding expression. The difficulties of left-hand piano techniques are variable; Ravel use the different and difficult piano skills in his two candenzas, Richard Struass¡¦s Panathenaenzug is also collected left-hand piano techniques in it, and Britten¡¦s Diversions is in different point of view that the composer employs the whole register of eighty-eight keys to makes this piano concerto sounding rich.

abstract: This handbook is aimed to develop a violist’s technique as they move from Georg Philipp Telemann’s Concerto for Viola, Strings, and Basso Continuo in G Major, TWV 51: G9 and begin the Carl Stamitz's Viola Concerto in D Major, Op. 1. Ten etudes and related exercises introduce and highlight various techniques, providing a comprehensive and methodical transition from one concerto to the next. These etudes are based on fragments of the Stamitz Concerto in an effort to directly relate technical development with performance skills. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Dream of a Thousand Keys is a concerto for piano and orchestra, which consists of four movements presenting multiple dimensional meanings as suggested by the word "key." I trace the derivation of Korean traditional rhythmic cycles and numerical sequences, such as the Fibonacci series, that are used throughout the work, and explore the significant role of space between the soloist and piano that are emphasized in a theatrical aspect of the composition. The essay addresses the question of musical contrasts, similarities, and metamorphosis. Lastly, I cover terms and concepts of significant 21st-century compositional techniques that come into play in the analysis of this work.

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The Czech composer Paul Wranitzky (1756–1808) worked primarily in Vienna during the height of musical Classicism. He was well-respected among the higher artistic circles during his day as a composer, violinist, and conductor. His excellence in conducting was recognized by Haydn and Beethoven. His compositions were favored by Empress Marie Therese. Despite his contemporary fame and esteem, his works are relatively unknown today. His works are being revived today, bringing these once popular compositions back to the public. This thesis presents a critical edition of Wranitzky's cello concerto in C Major, appearing for the first time in a scholarly edition. This will allow for its study and performance, and allow musicologists to determine Wranitzky's influence on Viennese string and orchestral music.

Concerto for Piano and Orchestra is a three movement composition. The performance time of the entire composition is approximately nineteen and one-half minutes. Certain melodic similarities are found in the three movements of this composition because some of the pitch successions selected for motives were derived from a twelve tone row. The harmonic sonorities are based on free choice and derivations from the tone row as were the melodic materials. The rhythm in this work is not serialized or in any other way predetermined.

Great Lakes Leviathan is a work for Piano and Large Chamber Orchestra that takes its main source of inspiration from cryptozoological reports of sea creatures; particularly those found within the midwestern region of the United States. This work develops over the course of four movements. In the opening movement and in the thalassic finale, entitled The Rising Deep and Great Lakes Leviathan respectively, the listener will experience sound worlds imitating tumultuous waters, majesty, chaos, and an encounter with the aforementioned Leviathan itself. The second movement, The Fossil Finder, explores themes of excavation, research, and course charting. The third movement, Eventide, reflects upon narratives of exploration, maiden voyage, expanding horizons, and evening twilight.

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ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the "Red Priest" for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba's origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese / Music Composition / Accompanied by two .pdf scores: 1) Marimba Rossa: for marimba and orchestra. 2) Marimba Rossa I.