by Hui Cheung Wai. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997. / Chapter 1. --- String Quartet No2 / Chapter a) --- programme notes --- p.I. i -ii / Chapter b) --- music score / Chapter ´Ø --- 1st movement --- p.1-15 / Chapter ´Ø --- 2nd movement --- p.16 -25 / Chapter ´Ø --- 3rd movement --- p.26-51 / Chapter 2. --- """Disappearance"" for orchestra" / Chapter a) --- programme notes --- p.II. i -iv / Chapter b) --- music score --- p.1-46 / Chapter 3. --- """Wu Wu"" (Sorcery Dance) for piano" / Chapter a) --- programme notes --- p.III. i -ii / Chapter b) --- music score --- p.1-12

No description available.

Music of balance is a portfolio of eight compositions, all of which bear the concealed influence of mandalas in their conception - these are made manifest musically in cycle structures with shifting drones, pedals and tonal ambiguities.The compositional process maximises minimal materials - circles and squares - symbolically. Organising thought, feeling and knowledge into a balanced acoustic music form of expression is the objective of this creative project - which is carried out under the influence of symbols. Whilst the compositional processes are intuitive, they involve a disciplinary measure which employs the circle and the square as tools. Acting symbolically these tools imbue the music with deeper meaning than the obvious listening surface, and provide a rich substance of sound. Programmatic influences have been absented; replaced instead by the language of symbols - namely the mandala symbol. A range of apparent opposites arising from circles and squares - physical/ephemeral matter, chronological/eternal time and form/expression - are investigated for musical reconciliation. The compositional exploration is guided and focused by the circle in a square image understood as a universal symbol (grounded in the ancient Indian Arts, Tibetan Buddhism, Sufism and Jungian psychology), and active in representing, and thus restoring the natural balance of the soul in the universe. / Master of Arts (Hons)

Thesis (M.A.)--University of California, San Diego, 2009. / Title from 1st page of PDF file (viewed Dec. 16, 2009). Available via ProQuest Digital Dissertations. Includes sound files of the thesis recital in 44K stereo. and 96K formats.

Shoulder2shoulder for violin and electronics -- 5 haikus for piano -- Logos variations, for violin, trombone, and electronics -- Emergence -- Diverted. / text

No description available.

Frederic Rzewski (1938- ) is a composer and pianist fluent in the styles of traditional pianism as well as the contemporary avant-garde. His musical breadth is most clearly demonstrated through his piano compositions, which are often large-scale, virtuosic, and tonal. For these reasons, they are frequently compared to works of the Romantic era. Furthermore, his pieces also display experimental, avant-gardistic leanings and thereby demonstrate complexity and eclecticism. The thread of continuity in Rzewski's works may be found through his incorporation of programmatic associations, which embrace controversial and universal socio-political themes.This study examines three of Rzewski's compositions for piano that typify the composer's diverse yet communal approach to composition: 36 Variations on "the People United Will Never Be Defeated!, the North American Ballads, and De Profundis. Through the integration of a predominantly tonal musical language with bold, contemporary techniques, all three pieces represent a melding of the past with the present. Thus, they celebrate the complex nature of the human experience through the realm of musical expression.Frederic Rzewski was interviewed by this author, as was pianist Ursula Oppens (a strong advocate of contemporary works generally and Rzewski's pieces specifically). Their insights appear throughout the document, on topics ranging from the generally relevant to specific items connected to the above-mentioned compositions. Related issues of prominent educational influences, the contemporary avant-garde movement, critical review, extant dissertations, improvisation, neo-tonality, and the trend of political music were researched for their invaluable associations with the above-mentioned pieces.This study contends that, through these works, Frederic Rzewski demonstrates a commanding ability to weave varied musical and programmatic components into compelling, cohesive compositions. Furthermore, these pieces offer keen insights into compositional style and practice for piano in the latter half of the twentieth century and thereby present pianists and pedagogues with the opportunity for the introduction to (and immersion in) essential, idiomatic writing as related to late twentieth-century piano composition. / School of Music

This project created a multi-media work that combined music and visual images in a video format to culminate my graduate studies. I explored computer graphics and video technology while drawing from a multi-faceted background in art. This project attempts to communicate through visual expression the innate qualities of music and sound, while reflecting my interests as an artist. I intend this work to be viewed as either a live performance piece to be accompanied by the piano duet, Sonata for Two Pianos, or as a recording on a computer monitor or television. / Department of Art

There is no abstract available for this dissertation.

Graduate / 0413