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Ho Pak-Kei. / Thesis (M.M.)--Chinese University of Hong Kong, 2000. / Abstracts in English and Chinese. / English Horn Quintet --- p.1 / River and Land --- p.15

Thesis (M.A.)--University of Wisconsin--Madison, 1947. / Works originally for voices. Ms. (arranger's holograph); prefatory material and bibliography typescript. Includes bibliographical references (leaves 150-156).

Although many volumes concerning the life and works of Johannes Brahms have been written, it has been found that the majority of these writings treat the material of the subject in a rather poetic and romanticized fashion. This is especially unfortunate in those volumes where the works of Brahms are analyzed with pragmatic implications, since Brahms himself eschewed the use of extramusical elements in his composition. This investigation, therefore, is an attempt to present a careful analysis of one of these compositions, the Quintet in B Minor, Op. 115, for clarinet and string quartet.

This composition is a work for harpsichord (two players), flute, clarinet, violoncello and tape. In four sections, interspersed by three electronic interludes, the timbral interplay among the four live instruments is exploited, with particular emphasis being given to the sonic effects achieved by the careful manipulation of the interior of the harpsichord. As such, the two harpsichord players have distinctive roles in the ensemble: one of them operates the manuals in a more or less conventional fashion, while the other performs precisely indicated functions inside the instrument.The novelty of the latter activity has necessitated the invention of a few new notational symbols, which are employed throughout the score, Another uncommon notational device is the omission of bar lines, in an attempt to express the independence of contrapuntal lines within the piece.Ball State UniversityMuncie, IN 47306 / School of Music

The purpose of writing the quintet for Woodwinds is to produce composition for woodwind ensemble containing elements of significant musical form. Much of the quintet music. by composers such as, Reicha and Taffanel is characterized by pure virtuosity of style and lack of significant musical form. The Quintet for Woodwinds utilizes the conventional instrumentation for a woodwind quintet, that is, flute, oboe, clarinet (Bb), Horn in F,, and bassoon. In the Third Movement (Playfully) the piccolo is to be used as an alternate instrument with the flute.

The purpose of this study is to trace the early development of a popular twentieth-century chamber music ensemble, the woodwind quintet. The first chapter concerns the history and background of the use of woodwinds in chamber music leading to the development of the quintet. The second chapter discusses the first compositions for this ensemble and their composers. An appendix provides musical examples illustrating the use of the instruments in the early woodwind quintets.

我在二零一一至二零一二年度期間創作的音樂作品涵蓋各種樂器配置與規模，意在以各種不同的載體去發揮音樂創意。本作品集精挑細選於上述期間創作的三首作品集成，包括一首室內樂團作品，一首管樂團作品，以及一首五重奏室內樂作品。每首作品以不同的音樂元素為焦點，諸如音高、音色、織體、節奏；這些焦點皆以引出創藝潛能為目標，增加在未來創作中所能靈活運用的音樂素材。每首作品的音樂元素焦點如下： / 《魘逐》為室內樂團作品，以節奏為焦點。錯落的節奏以及各種節奏上的音樂趣味，透過音高材料有限的運用及發展得以突出，是以本作在和聲和旅律方面的音高大部分是為由單一的音級集合所掌控。 / 《夜潮》為管樂團作品，主要探索木管、銅管與毃擊各種樂器協作間的漸變音色和織體。低音大鑼為本作的重要角色，奏出一輪混沌的泛音群，與管樂團內的各種樂器融為一體。音色組合的漸變為本作添加音樂上的趣味，而由升F多利安調式所限制的音高素材則能突顯音色與織體的發展。 / 《蜃景》是寫給五件樂器的室樂作品，特意探索弦樂器的微觀音色變化，包括小提琴、中提琴、低音大提琴，主要以漸變而誇張的運弓位置轉換達成。弦樂的一組與雙簧管、巴松管的一組時而相互配合，時而各自發揮，而雙簧組合的音色亦透過各種演奏技巧或音域加以變化。音高素材為簡約的兩個四音和弦，其相扣而成的音階在曲中慢慢成形。跟《夜潮》相比，《蜃景》的音色與織體變化在室內樂的設定中，更容易讓聽眾體驗到當中細緻精密的音樂設計。 / Aiming to channel musical creativity into an array of vehicles, my works composed in 20112012 involve instrumental forces of varying line-up and sizes. Three carefully selected works from the said compositional output are featured in this portfolio: one work for chamber orchestra, one work for symphonic band, and one chamber work for five instruments. Each of them focuses on a different parameter of music ranging from pitch, timbre, texture, to rhythm; by imposing such a focus, it fulfils my intention of stretching my creative potential in all these different parameters, in hopes of expanding the breadth of my musical vocabularies that I could employ with ease and flair in my future works. The parametrical foci are explained as follows. / The Nightmare Escape, a chamber orchestral work, is a composition that focuses on the rhythmic aspect. The irregularities and musical interests in rhythm are emphasized through the economic, if not limited, employment and development of pitch materials that are, for the majority of the piece, organized by pitch-class set harmonically and melodically. / Les Marèes de la nuit, a piece for symphonic band, explores the gradual change of instrumental colour and textures within the domain of winds, brass, and percussions. A key instrument featured in this piece is the tam-tam, which creates a cloud of overtones that seamlessly blend with any of the instrumental sounds from the orchestra. The gradual shifting of sound combination creates the musical interest in this piece. The confining of pitch materials within the F-sharp Dorian mode contributes to the central idea of timbral and textural development. / Fata Morgana, a chamber work for five instruments, experiments with microscopic timbral effects in the strings, namely violin, viola, and double bass, through the employment of gradual yet exaggerative shifting in bow position. At different intervals, this cohort works together or against the double-reed cohort of oboe and bassoon, whose timbral possibilities are also explored through different playing techniques and registers. The pitch material is further streamlined to two interlocking tetrachords that slowly unfold a synthetic scale. Compared to Les Marèes de la nuit, Fata Morgana features more minute timbral and textural changes within a chamber ensemble setting, making the refined and delicate design more readily audible to the audience. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Kai Young. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2012. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgements --- p.iv / Table of Contents --- p.v / The Nightmare Escape (2011) 《魘逐》 --- p.1 / Les Marèes de la Nuit (2012) 《夜潮》 --- p.21 / Fata Morgana (2012) 《蜃景》 --- p.64

Includes bibliographical references (leaves 19-45). / Digitized by Kansas Correctional Industries

Digitized by Kansas Correctional Industries