This dissertation analyzes the original composition Radial, which is scored for alto saxophone solo, small orchestra and live electronics. Multiphonics are a common feature on the aural surface of Radial. This analysis will show that alto saxophone multiphonics are also a primary structural element in the work, hierarchically organizing the timbres, harmonies, instrumental interactions and large-scale form of the score. Interestingly, no source suggests how multiphonics can be an independent organizational force. Numerous book length multiphonic catalogues for diverse instruments give fingerings for these sounds and describe them as harmonies so that they can be fitted into harmonic contexts, and a small but significant scientific literature on multiphonics discusses the acoustic principles underlying these sounds, but no document considers their independent structural potential. After providing a general account of multiphonics and their relation to harmonic and inharmonic sounds, this dissertation will propose an answer to that problem by drawing together concepts from American experimental music, spectralism and cognitive music theory, with Radial reviewed as an example of this method in action. Historical issues and a broad range of implications for this research will also be discussed.

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Thesis (M.A.)--York University, 2001. Graduate Programme in Music. / Typescript. Includes the following original compositions (leaves 93-219): I remember the north wind over the water in January 1986 : for female choir & bowed vibraphone ; Prelude to Step down off the last whale : for tenor recorder, 2 Hohner Melodicas, trumpet B♭, piano, contrabass ; Portent from Step down off the last whale : for voice, 2 Hohner Melodicas, bowed piano ; A tree with bare branches thought itself to be a man : for voice, 2 Hohner Melodicas ; The butchershop quartet : for 4 male subtone singers ; Dark noon : for 3 voices ; Agnus Dei : for subtone-harmonic choir ; A calling so it would seem (A child's finger paint in rain) : for eight harmonic voices ; Skull music (for Dark noon) : for eight subtone-harmonic voices ; Father I just found a meterorite : for solo B♭ trumpet ; Be still there, be still here : for flute, B♭ clarinet/bass clarinet ; vibraphone/glockenspiel, piano, violin, cello ; The word music--poems. Includes bibliographical references (leaves 86-89). Discography: leaf 90. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ66380.

This thesis is part of the result from an explorative venture into understanding how saxophone multiphonics can be used as tools for improvisation and composition. The focus lies partly on how I found these sounds, personalized them and incorporated them into my artistic language, but more importantly, this is an attempt of thinking through art by letting the experience gained from making creative use of accidental occurrences affect future experience in an open-ended artistic process. This is done in two acts, solo-playing and duo-playing. With the solo-playing I listen for what these sounds suggest in themselves, and through this, create open compositions that are embracing their elusive nature. The duo-playing searches for sounds within sounds in a sonic map, constructed from a co-creative artistic process that allows us to zoom in on details, experience deep and spectral listening through vertical musical motion. Apart from the written words and the compositions, the artistic results consist of several recordings, presented and discussed throughout the text together with connected concepts and contexts revolving around saxophone multiphonics, composition and improvisation. / <p>Komposition: Sonic Map</p><p>Kompositörer: David Bennet &amp; Vilhelm Bromander </p><p>Medverkande: David Bennet, Saxofon. Vilhelm Bromander, Kontrabas </p><p>Konserten är inspelad och bifogas med det skriftliga arbetet. </p>

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Rrowzer! is a piece for solo clarinet composed by Eric P. Mandat in 2005. It was premiered at the Oklahoma Clarinet Symposium on June 17, 2005. The composer has stated that he sought in this piece to immediately capture the audience’s attention through intensity and energy. What makes this work distinct is that the composer gives the performer certain freedoms to experiment by means of choosing how many times to repeat various small segments of music. The performance note in the score implores: “Experiment with a wide variety of repetition lengths – it’s your opportunity to build unique structures.” The following thesis consists of three sections. The introduction and Chapter 1 will explore the influences and inspiration behind the piece, as well as consider biographical background information about the composer. Chapter 2 will provide a musical and structural analysis of the piece, focusing on three main compositional aspects: the organic development of the piece through the transformations of a single pitch-class cell with emphasis on the interval content of that sonority; long-range voice leading and linear connections articulated by adjacent quarter tones; and the relationships of the four climactic moments of the piece with one another.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-20T16:08:13Z No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:41:00Z (GMT) No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-12-26T12:41:00Z (GMT). No. of bitstreams: 2 Dissertação - Lamartine Silva Tavares - 2016.pdf: 2434263 bytes, checksum: 036c5901c614e340c7ce6380c4a430a8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this research we address multiphonics sounds in bassoon. Our objective was to investigate technical support for the performance of Cantares para Airton Barbosa by Aylton Escobar, because the lack of knowledge about the technique for the emission of these sounds precludes this performance. We conducted primarily a bibliographic study of methods that address the technique for issuing multiphonics sounds. Later we proceeded a technical and interpretive study of Escobar's work, based on studies of the previous phase. Finally, our goal was to diagnose the real technical extensions required for the issue of multiphonics. For this, we compared the instructions for fingering, embouchure and air pressure of Weissenborn´s method 1887, the reference to traditional bassoon technique, with the instructions found on modern methods, which address the multiphonics, as the methods of Bartolozzi (1967), Penazzi (1971), Gallois (2009) and Sampson (2004). After conducting this research, we concluded that the materials presented here, provide sufficient technical support for the performance of multiphonics present in Cantares. However, we observed different results in different types of materials, which shows the need to test by the performer. We also conclude that for the issue of multiphonics sounds there were technical extensions fingering, at the mouth and in the field of air pressure in relation to the Weissenborn instructions for the performance of the bassoon. / Nesta pesquisa abordamos sons multifônicos ao fagote. Nosso objetivo foi investigar e discutir subsídios técnicos para a performance da obra Cantares para Airton Barbosa do compositor Aylton Escobar, pois o desconhecimento sobre a técnica para a emissão desses sons impossibilita esta performance. Realizamos primeiramente um estudo bibliográfico envolvendo métodos que abordam a técnica para a emissão dos sons multifônicos. Posteriormente procedemos um estudo técnico-interpretativo da obra de Escobar, fundamentado nos estudos da fase anterior. Por fim, nosso objetivo foi diagnosticar as reais extensões técnicas requeridas para a emissão dos multifônicos. Para isso, comparamos as instruções relativas a dedilhado, embocadura e pressão de ar, do método de Julius Weissenborn, de 1887, referência da técnica tradicional do fagote, com as instruções encontradas nos materiais modernos que abordam os multifônicos, como em Bartolozzi (1967), Penazzi (1971), Gallois 2009 e Sampson (2014). Após a realização dessa pesquisa, pudemos concluir que os materiais apresentados aqui, oferecem subsídios técnicos suficientes para a performance dos multifônicos presentes em Cantares. Porém, observou-se diferentes resultados em diferentes tipos de materiais, o que mostra a necessidade de testes por parte do performer. Concluímos também que para a emissão dos sons multifônicos houveram extensões técnicas no dedilhado, na embocadura e no domínio da pressão do ar, em relação às instruções de Weissenborn para a performance do fagote.

The aim of this project is to provide all the necessary information for an oboist who wishes to learn multiphonics, microtones or double tonguing. I will describe each technique and how it is produced. I will discuss my experience learning each technique and compare the different exercises and approaches I used. I collaborated with a composer to write a solo piece for oboe including the techniques above. I will talk about this experience alongside the comparison between playing the techniques in an isolated manner and in the context of a piece. / <p>Martinu Oboe Concerto</p><p>Sancan Sonatine for oboe and piano</p><p>SINK by Ciarán Hayes </p><p>Ravel Le Tombeau de Couperin arranged for wind quintet </p><p>Piano: Maria Rostotsky</p><p>Flute: Emma Eskeby </p><p>Oboe: Holly Chilton</p><p>Clarinet: Max Becker</p><p>Bassoon: Ciarán Hayes</p><p>Horn: Ludwig Hjortenhammar</p>

This thesis introduces the modern flute techniques used in the solo flute piece Laconisme de l’aile by Kaija Saariaho. The purpose is to find ways to excecute the techniques so that they serve the music in the best way. The techniques are divided in five groups based on how they are excecuted: effects made with the mouth, changing the timbre, multiphonics, effects made by fingers and diffenent sounds by blowing. As an attachment there is a recording of the piece and how the techniques sound in the context. At the end of the process it has been evaluated, if the modern techniques help with the ordinary flute playing as well. / <p>A recording of Laconisme de l'aile by Kaija Saariaho</p>