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Volume I. The persistent fantasy extended single-movement form in twentieth-century composition ; Volume II. Convivencia : a fantasy for guitar and string quartet /Menton, Allen Walter, Menton, Allen Walter, January 2009 (has links)
Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (v. 1, leaves 126-134).
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Sonic Imagery in the Viola Arrangement of Hwang-Long Pan's Concerto for Violoncello and Chamber Orchestra (1996/97)Yang, Shang Ju January 2013 (has links)
The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (1996/1997), making use of the composer's sketches, interviews and other scholarship, to illustrate how the composer blends Western instrumentation and formal structure with elements of traditional Chinese music and philosophy. The analysis reveals how Pan uses modern European compositional techniques such as symmetrical pitch structure, arch forms, and avant-garde performance practices in the Concerto. The author also discusses performance techniques required of the solo violist and other orchestral instruments in order perform the style of Chinese heterophonic music evoked in the Concerto and to realize the ornaments and special performance effects that Pan borrows from traditional Chinese instruments, such as the lute-like pipa.
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I mötet med Bill Violas videokonstverk Five Angels for the MillenniumWickman, Annika January 2006 (has links)
Uppsatsen behandlar upplevelse. Analysen av upplevelse utgår från uppsatsförfattarens möte med den amerikanske videokonstnären Bill Violas installation Five Angels for the Millennium (2001). Forskningsansatsen är främst fenomenologisk vilket innebär att fokus ligger på att undersöka vad som är, vad det föreställer och hur den upplevande uppfattar detta. I bakgrunden står frågan hur upplevelse, med utgångspunkt i en persons möte med ett videokonstverk, kan analyseras teoretiskt. Uppsatsförfattaren för samman ett antal teoretiker som alla skrivit om emotioner, i form av känsla eller affekt, i samband med en tolkningsakt. De forskare som det främst refereras till är Bent Fausing, Mark Hansen, Laura Marks, Janet H. Murray, Lynne Pearce och Roland Barthes. Barthes har även påverkat förhållningssättet till analysen i stort. Den metod som används är att först skildra mötet med verket och att därefter analysera mötet utifrån fyra olika infallsvinklar. Från analysen av vad som mött den upplevande, flyttar perspektivet till att se vad som skett i den upplevande, för att därefter undersöka hur den upplevande utvecklat en relation till verket. Slutligen diskuteras verkets religiositet, bl.a. med hänvisning till Wassily Kandinskys texter om det andliga i konsten, Walter Benjamins beskrivning av upplevelse, nyare forskning om religiös upplevelse och Violas kontext och uttalade avsikt. I texter om Viola framkommer det att de som mött hans verk delar en likartad upplevelse. Analysen är avsedd att ge en förståelse för hur Viola går till väga för att få den som möter hans verk att känna och tänka på ett visst sätt. Slutsatsen är att den upplevande, i mötet med verket, möter Violas ideologi, vilken kan sägas vila i utgångspunkten att människan måste finna en ny form av verklighet. Implicerat är att den värld hon lever i idag inte är människovänlig.
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Filigranes pour les Frères LimbourgFitch, Fabrice January 1991 (has links)
The paper details and discusses the compositional issues and techniques employed in the candidate's M.Mus. Thesis Composition Filigranes pour les Freres Limbourg. The piece takes its title and inspiration from the work of the fourteenth-century master-illuminators and also makes reference to music of the same period, while at the same time being grounded in a post-serial aesthetic. The composition's relationship to these models and the specific compositional processes derived from the resulting fusion of certain aspects of mediaeval music (including modality and numerology) with serial technique are described and illustrated. Special emphasis is placed on the interaction of abstract organisational principles (such as permutation) and their musical results.
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Bartóks violakonsert : studier av olika utgåvorHöglind, Johan January 2015 (has links)
No description available.
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Sonata form in the six quintets, opus 11, by Johann Christian BachPak, Moon-Chung January 1996 (has links)
This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.
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Trillium : a nonet in three movements /Schanker, Larry. January 2003 (has links)
Thesis (Ph. D.)--University of Chicago, Department of Music, June 2003. / For flute, B♭ clarinet, soprano saxophone, bass clarinet, violin, viola, violoncello, double bass, and percussion (marimba, vibraphone, flexatone, castanets). Also available on the Internet.
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The development and pilot testing of a hypermedia program to supplement undergraduate string techniques class instruction in upper string vibratoMueller, Rodney Alan. January 1997 (has links) (PDF)
Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 1997. / Includes bibliographical references (leaves 95-103).
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Trillium : a nonet in three movements /Schanker, Larry. January 2003 (has links)
Thesis (Ph.D.)--University of Chicago, 2003. / For flute, 2 clarinets (B-flat, bass), saxophone (soprano), violin, viola,violonchello, double bass, and percussion (marimba, vibraphone, flexatone, and castanets). Duration: ca. 19:20. Also available on the Internet.
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The third impossible thing before breakfast, an octet for saxophone and string quartetsDimoff, Trevor Anthony January 1998 (has links) (PDF)
No description available.
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