Hensikten med denne studien er å lære fundamentale prinsipper for orkestrering gjennom tre fremgangsmåter:- Teoretiske studier av lærebøker Analyser og sammenligning av orkestreringen av utvalgte komposisjoner fra ulike historiske og stilistiske perioder Anvendelse av kunnskapen, gjennom orkestrering av utvalgte piano-komposisjoner (satser fra Kreisleriana av R. Schumann). / The aim of this study is to learn the fundamental principles of orchestration through three approaches: Theoretical study of textbooks Analyses and comparison of the orchestration of selected compositions from various historical and stylistic periods Application of knowledge, through the orchestration of selected piano compositions (movements from the Kreisleriana by R. Schumann).

Inaug.-Diss.--Friedrich-Wilhelms-Universität, Berlin. / Vita. "Literaturverzeichnis der neueren Bücher": p. 174-175.

Inaug.-Diss.--Friedrich-Wilhelms-Universität, Berlin. / Vita. "Literaturverzeichnis der neueren Bücher": p. 174-175.

This study closely examines the orchestrational techniques in four of Percy Grainger's wind band compositions; Colonial Song, Irish Tune From County Perry, Molly On The Shore, and five movements from Lincolnshire Posy; Lisbon, Horkstow Grange, The Brisk Young Sailor, and The Lost Lady Found. These are works which are representative of Grainger' s orchestrational techniques. This information has been used to newly orchestrate three of Grainger's pieces for band in his orchestrational style. They are The Cutting of the Hay, Lord Maxwell's Goodnight, and British Waterside (or The Jolly Sailor). It is interesting to note that all but one of these band works (Horkstow Grange) are orchestrations of previously completed compositions. Presumably, Grainger's attention would have been focused on matters of scoring only when writing for band. In analyzing Grainger's orchestrational techniques in these pieces, I have not made any value judgments as to their success. I have also been very careful not to compare these techniques to any other composer. Rather, I have done an exhaustive survey of recurring orchestrational techniques in an attempt to understand why his wind band music sounds the way it does. Chapter I identifies and codifies Grainger's scoring of melodic material. Similarly, Chapter II deals with countermelodic material. Chapter III examines recurring features in Grainger's part writing. Chapter IV documents his preoccupation with contrapuntal dynamic techniques. There is no debate that Grainger made an original contribution to the wind band literature. This study has explored in depth Grainger's orchestrational techniques in an attempt to show specifically why his wind band music is so readily identifiable as Grainger. It is my assertion that the Grainger 'sound' is a function of recurring orchestrational techniques rather than other compositional elements such as melody or harmony. His consistent choice of doublings for both melody and countermelody place a personal stamp upon his music. His continual use of contrapuntal dynamics to achieve timbrel effects also renders his music distinguishable as being only by Grainger. His part writing proves always to be uniquely satisfying because of the constant voice shifting and meandering parts.

This study aims to address the need to support the improvement of teaching practices of South African mathematics teachers. Both international and South African literature suggest that orchestrating whole class discussion by using the practice of revoicing, can support learner appropriation of mathematical discourse, and that it is particularly suited to multilingual environments. Given the staying power of traditional style teaching, this study explores revoicing as a feedback practice within this style of Initiate, Respond, Evaluate/ Feedback (IRE/F) format. Two grade 6 mathematics teachers in Johannesburg were interviewed and their lessons were observed, filmed and analysed using a detailed coding instrument. The teachers were found to be giving as much revoicing as non-revoicing feedback to their learners and that revoicing was used in limited ways, mostly different to those suggested in the literature and not always productively. Key categories of revoicing seen in this study were repeating to affirm learners as well as rephrasing into mathematical language and funnelling learners towards correct answers. The contribution of this research to the field has been to expose the different ways in which two South African teachers are already using the practice of revoicing, in order to see the potential for further research and improved practice.

This submission investigates the creative music-making process from its conception as an idea or musical image to its realisation in the form of a CD of the musical performance. The discussion is based on two recitals by the author in association with two different ensembles. The first recital was with the contemporary world music group Tatopani on November 24th 2005 at Sweet Basil in Tokyo, Japan. The second was with the Hiroko Takada Quartet on March 9th 2006 at the Elder Music Unit in the The University of Adelaide. It discusses the processes that led to the two recitals from three perspectives : first from the musical perspective of the group; second, from the author's perspective as an individual performer, with emphasis on the contrast between multi-instrumentalism and focusing on a single instrument ; and, third, from the practical and organizational perspective, with particular emphasis on the recording process itself. Examples from the author's recitals are used to demonstrate the discussion, and CDs of the complete recitals are integral to the submission. / Thesis (M. Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2006.

Dissertation--Hamburg--Universität, 2005. / Bibliogr. p. 263-275. Index.

Thesis (M.M.)--University of North Texas, 2003. / Includes bibliographical references (p. 316-317).

Thesis (Ph. D.)--University of Rochester, 1953. / Typescript and manuscript. Vol. 2: Supplement, comprising: transcriptions of works by Giuseppe Matteo Alberti (Concerto XII), Thomas Arne ([Overtures, no. 2]), Johann Wenzel Anton Stamitz (Simphonia a quatro stromenti), Anton Filtz (Synphonia a due violini, viola è basso), Anton Wilhelm Solnitz ([Symphonies, 2 violins, viola & bass, op. 3 no. 6, E-flat major]), and Karl Friedrich Abel ([Symphony, K. 3, D major]); "Examples" cited in the text of the thesis, and "thematic index" of musical examples. Bibliography: v. 1, leaves 163-182. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5419

Thesis (M.M.)--University of Rochester, 1956. / Appendix: l. 179. Tape recording inserted in pocket. Bibliography: l. 180-182. Digitized version available online via the Sibley Music Library, Eastman School of Music (sound recording not in included) http://hdl.handle.net/1802/2374