Primarily the writer was interested in the relationship between technique and interpretation in the concept of pianism, especially in the music of Brahms, because of the technical difficulties thereof. In this study the truism that technique = interpretation is the focus point. After giving many different opinions about this, the writer brings it into context with Brahmsian pianism specifically. It is made clear how Brahms used certain techniques for certain soundworlds that he wanted to create, in order to reach a certain interpretation, and that there are recurring technical procedures in opus 34, 35, 56b and the 51 exercises. As an interface to these Brahmsian techniques, the writer selects a mixture of generic technical aspects from a wide scope of other musical minds. There is a definite inter-reaction between all these generic aspects and those of Brahms. The background and history of opus 34 is explained, plus a short section about Brahms aesthetics/ambiguity, and some philosophical opinions about the dimension of emotions and feelings in interpretation. However, the writer explains that this dimension is outside the scope of this thesis. A summary of schools of thought on technique and theories of interpretation is given to establish the links between them. Using available literature on quintets, ensembles, pianism, idiomaticism and timbre, the piano quintet specifically was explored for the uniqueness of its features. Brahms’s individualistic approach to pianism, as exemplified by his chamber music and his unique contributions to virtuoso technical routines, is examined against the background of sonorities of the piano and underpinned by appropriate technical skills. Against a template of pianistic criteria, appropriate examples, rich in context, are analysed both technically (objectively) and interpretatively (subjectively) to educe outcomes that establish that the two approaches have a holistic relationship and are ultimately inseparable and interdependent. The score examples show how technical difficulties escalate in combinations of complex movements in the “marriage” of technique and interpretation, and how interpretation relies primarily and fundamentally on the craft of technique, which is also an art in itself. / Thesis (DMus)--University of Pretoria, 2014. / gm2014 / Music / unrestricted

In today's rapidly changing performing arts market, trumpet players are required to be more versatile than ever. Trumpet performing jobs are diversifying and for a trumpeter, employment often requires the multi-faceted skill set that includes the ability to perform in all styles and settings ranging from jazz to classical, solo to large ensemble and brass quintet. As the demand for the brass quintet medium has grown, the study of chamber music repertoire has also become a common requirement in collegiate music programs. However, coaching in chamber music is limited, sometimes to as little as one hour per week. This coaching time is generally in the format of a single coach instructing the full chamber group, and therefore one-on-one instruction/attention is limited or nonexistent, leaving the onus of learning on the students, for whom these collegiate chamber music ensembles are their first exposure to the medium. While students have ample access to concentrated instruction for orchestral, band, and opera excerpts through the multitude of existing excerpt books, such a resource for trumpet players learning brass quintet repertoire does not yet exist. The purpose of this project is to create a succinct guide to the performance of the trumpet parts of standard brass quintet repertoire.

In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed.  From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece.  After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.

We present new CO (1-0) observations of 11 extragalactic tails and bridges in nine interacting galaxy systems, almost doubling the number of such features with sensitive CO measurements. Eight of these 11 features were undetected in CO to very low CO/H I limits, with the most extreme case being the NGC 7714/5 bridge. This bridge contains luminous H II regions and has a very high H I column density (1.6 × 1021 cm-2 in the 55″ CO beam), yet was undetected in CO to rms T*R = 2.4 mK. The H I column density is higher than standard H2 and CO self-shielding limits for solar-metallicity gas, suggesting that the gas in this bridge is metal-poor and has an enhanced NH2/ICO ratio compared with the Galactic value. Only one of the 11 features in our sample was unambiguously detected in CO, a luminous H I-rich star formation region near an optical tail in the compact group Stephan's Quintet. We detect CO at two widely separated velocities in this feature, at ∼6000 and ∼6700 km s-1. Both of these components have H I and Hα counterparts. These velocities correspond to those of galaxies in the group, suggesting that this gas is material that has been removed from two galaxies in the group. The CO/ H I/Hα ratios for both components are similar to global values for spiral galaxies.

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The first movement of the Piano Quintet, Op. 16 of Ludwig van Beethoven works out three significant motivic "topics": a chromatically filled-in second, appearing first as 5 - #5 - 6 (Bb - B - C in Eb major); the emphasis om the submediant, both as vi in Eb major and as the tonal region of C minor; and the melodic interval of the sixth, which, when inverted to become a descending third, determines the structure of tonal regions at crucial points in the movement. These three motivic topics are introduced in the opening measures of the piece and are subsequently unfolded throughout the movement; the focus of the thesis will be to trace the unfolding of these three topics.

An examination of the musical style, compositional techniques and performance practice issues of American composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer.

Celestial Dreams is a three-movement work for chamber ensemble. This piece employs algorithmic processes (coded in BASIC and Pascal) that generate poetic text and convert it to musical pitches. The three movements contain coherent structures that allow for the complete integration of all ensemble members into the texture and for the flexibility to have one ensemble member emerge as the musical foreground. The chamber ensemble includes strings, tape, slides, and a narrator, who recites the poetic text which forms the foundation of the piece.