This thesis is a musical setting of the Ordinary of the Roman Catholic Mass: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. It is scored for a soprano soloist, a four-part chorus (SATB), percussion requiring one player (orchestral bells, vibraphone, and chimes), piano, and pipe organ. The text is taken from the traditional Latin and its English translation, the Greek (in the case of "Kyrie eleison") and verse taken from scripture--John 1:1, John 1:5, and Revelation 1:17-18--as translated in the Revised Standard Version Bible. These verses are woven into the musical fabric of the Kyrie and the Gloria and are frequently overlayed with the text of the Mass itself. The text is treated freely with some cyclic treatment of textual and thematic material.

The instrumentation is flute, B-flat clarinet, bassoon, violin, viola, and cello. The individual movements last four and one-half, four, and six minutes, respectively, with a total duration of fourteen and one-half minutes. The first movement is a theme and a series of nine sections that employ the variation principle. The second movement is characterized by its slow tempo and by its texture which is almost entirely homophonic. It is primarily concerned with gradual timbral changes created by special effects. The third movement, which is rapid in tempo, employs one main theme which provides four motives. This material is developed throughout the movement by frequent changes in meter, range, texture, and dynamics.

published_or_final_version / Music / Doctoral / Doctor of Philosophy

The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.

by Lo Hau Man. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1995. / Chapter 1 --- Programme notes of Requiem --- p.1-1 / Text of Requiem --- p.1-3 / Programme notes of Dream --- p.1-7 / Chapter 2 --- Requiem --- p.2-i / Instrumentation --- p.2-ii / Note and Directions --- p.2-iii / Chapter (I) --- Requiem Aeternam --- p.2-1 / Chapter (II) --- Dies Irae 2- --- p.24 / Chapter (III) --- Offertorio --- p.2-108 / Chapter (IV) --- Sanctus --- p.2-122 / Chapter (V) --- Agnus Dei --- p.2-137 / Chapter (VI) --- Libera Me --- p.2-147 / Chapter 3 --- Dream - Ballet Suite --- p.3-i / "Instrumentation, Note & Direction" --- p.3-ii / Chapter (I) --- Allemande --- p.3-1 / Chapter (II) --- Air --- p.3-6 / Chapter (III) --- Gigue --- p.3-11

by Ho Siu Wa, Albert. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1996. / First Movement --- p.1 -10 / Second Movement --- p.11 -20 / Third Movement --- p.21 -32

Ip Kim Ho. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997.

這作品集共有三首作品：“謎語 I, 110806“ 為四個家居電話而作, “ 影。空“ 一首電子音樂作品, “交響詩“ 為管樂團而作 / 我嘗試在作品集當中運用一些以前我並不經常使用的作曲概念、作曲技巧，及配器法和一些樂器組合，以致我可以創作一些突破我以往風格的作品。以上三首作品都屬於不同類型，也有作不同的特質；樂曲順著創作日期先後而排列。我嘗試在 “謎語 I, 110806 和 “影。空 這兩首較早期的作品中實驗一下當時對我而言是創新的樂曲種類和作曲技巧。較近期的作品“交響詩是為管樂團而作。因為我學習圓號多年，所以這是我最熟悉的樂曲類型。 / “謎語 I, 110806“ / 這是一首為四個電話而作的實驗性作品，藉此表達出我們每天都在經歷充滿戲劇性的人生。電話可以產生出脈衝和音頻聲響，無疑是一件樂器。其實很多圍繞著我們的事物都可以用來創作音樂。我為這首樂曲的演出預先預備了一些錄音以在樂曲中特定的時間播出。演奏者可以按他們自己的喜惡以其他錄音代替。 / “影。空“ / 這是一首揉合電子合成器所產生的電子音效和真實錄音的電子音樂作品。創作靈感來自<聖經>的<傳道書>，我特別是被當中認為人生在世一切都如捕風捉影所觸動。我在音樂中使用了風聲作為一固定反復的樂句以貫穿全曲。有此作為一個無間斷的承托部分令到一些不可能在真實樂器演奏中發生的細緻音樂元素可以在這首樂曲中呈現。 / “交響詩“ / 這首樂曲的最大特點是我選擇在這首管樂團作品中運用了豎琴和馬林巴琴的二重奏。樂曲起始是一些精簡又有著強烈對比的樂段，這些樂段在樂曲較後部分融合一起，並發展成一長樂段。我在樂曲中主要著意於創造優美的旋律，當中蘊含著不規則的分句，卻不影響樂曲本身的流暢性。 / This portfolio consists of three pieces: Enigma I, 110806 for four domestic telephones, In Vain Like A Shadow an electronic piece, A Symphonic Poem for concert band / In my portfolio, I have attempted to use the compositional concepts and techniques, as well as orchestration and instrumentation method that were unfamiliar to me before, so as to ensure that I was writing works that would stretch beyond my usual musical tendencies. The three pieces in my portfolio all have distinctive styles and genres; each will be presented chronologically according to its completion date. In my two earlier pieces, Enigma I, 110806 and In Vain As A Shadow I wish to experiment with the genres and techniques that were new to me at the time. The most recent work, A Symphonic Poem, is composed for concert band. It is the genre that I am most comfortable and familiar with, owing to my years of training on the French horn. / Enigma I, 110806 / This is an experimental piece composed for four domestic telephones. This came out of my idea of creating a work that would enable music to express the drama we encounter in our daily lives. The telephone is no doubt a musical instrument--it can generate pulses and pitched tones. In fact, many objects that surround us can be used to create music. For the performance of this work in the past, I have prepared some pre-existing recorded sound tracks that can be played alongside at particular moments in time. However, those who wish to make their own sound tracks to substitute mine for the performance are welcome to do so. / In Vain As A Shadow / This is an electronic piece that combines recorded live sounds with effects that are produced by a synthesizer. While composing this work, I was inspired by the book Ecclesiastes from the Holy Bible; in particular, I was struck by the part about how the life of a man is a vanity. In my music, I have used a drone-like ostinato that permeates throughout the entire work. Using this as the long, seamless foundation of my piece, while delicate gestures are introduced up above, is something that would have been impossible if only acoustic instruments are used. / A Symphonic Poem / What is most unusual in this work is probably my choice to feature a duet for harp and marimba within a wind band. This piece begins with a few short, contrasting sections that are later combined with one another, and eventually grow to become one long stretch. Much of my attention in working through this piece has been focused on creating beautiful melodic lines that have irregular phrasings, yet will not interfere with the continuous musical flow. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Cheng, Ming Hin Henry. / "December 2012." / Thesis (M.Mus.)--Chinese University of Hong Kong, 2013. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese. / Volume I: / Cover Page / Content Page / Acknowledgments --- p.i / Abstract --- p.ii / Enigma I, 110806 --- p.1 / In Vain As A Shadow --- p.8 / Volume II: / Cover Page / A Symphonic Poem --- p.1

The rationale for this portfolio of original compositions was to investigate particular ideas in relation to the use of dissonance, and in particular harmony, to represent the concept of darkness in an emotional and visual sense. The notion that harmony and dissonance can evoke emotions was developed through research into literature of music and the mind. Theories of harmonic dissonance, acoustic, physiological and psychological were studied including those of Helmholtz, Greenwood, Plomp and Levelt, Stumpf and Cooke. The compositions are divided into two parts, two orchestral works that are an evocation of underground locations, and the second part which is devoted to three small chamber works that investigate the darker emotions of child psychology, looking at phobias, dreams and psychological perceptions: 1. Mary King’s Close - flute, clarinet, bassoon, horn, trumpet, trombone, piano, 2 percussion, 2 violins, viola, cello, double bass. 2. Limbus Infantium - flute, soprano voice, piano, harp. 3. Nocturne - 2 trumpets, horn, trombone, euphonium, tuba, 2 percussion, recorded text. 4. Symphony 2 ‘The Caves’ - symphony orchestra 5. Voices - 2 violins, viola, cello The portfolio of compositions begins with the use of dyadic harmonic intervals derived from modal themes, and the subsequent compositions expand and develop these ideas culminating in a complex use of small harmonic cells which relate to subtle light illuminations in the underground caves, and the psychological depth of perception of children in the final works. / Thesis(PhD)-- Elder Conservatorium of Music, 2007

No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2004.