Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.

This portfolio of eleven scores and an accompanying commentary is an in depth investigation into the use and development of compositional techniques over a wide range of instrumental and vocal combinations.  The scores submitted trace my development as a composer by considering research questions related to structural organisation, harmonic and rhythmic development and how external sources, particularly visual and literary, can be used as a starting point for the compositional process. Included in the portfolio are eleven works, categorised into three sections: instrumental music, solo works, and vocal music. The portfolio researches and examines elements of composition such as harmony, texture and timbral relationships, as well as the use of visual and literary art as a stimulus for composition across all of the instrumental and vocal combinations included.  My interest in the combination of pre-existing compositional methods such as serialism, with particular regards to pitch, and atonality is also examined in many of the scores and documented in the accompanying commentary.

In this thesis I have examined the benefits of working with a help of self-recording. I wanted to experiment self-monitoring with different working methods to improve my practicing skills as well my performing skills as I prepared for my examination concert. This process consisted of a lot of recording, listening and practicing and repeating this cycle numerous times. I wanted to implement different practice methods and reflect on different aspects of playing the viola. This thesis is written from a violist point of view. The main focus of this work is audio recording as a tool in self-monitoring practice. I have been using two main methods in reviewing the audio material gathered from practice sessions:  1) time between recording and reviewing the material and 2) recording, analyzing and practicing in line with the recordings within a practice session. I wanted to take self-recording process into more regular use because I see it as an essential part of the self-teaching process. A music student has to go through a lot of practicing hours and most of these are spent alone in a practice room. Some of this time is wasted and misused in learning unwanted habits. I wanted to learn to practice in the most deliberate way and use my practice hours as effectively as possible by structuring my practice in self-teaching phases and putting the emphasis on self-monitoring. / <p>CONCERT REPERTOAR</p><p><strong>C. Stamitz</strong>: Viola Concerto in D Major, Op. 1*</p><p>Allegro</p><p><strong>I. Stravinsky</strong>: Elegie</p><p><strong>R. Schumann</strong>: Märchenbilder, Op. 113**</p><p><em>I. Nicht Schnell</em></p><p><em>II. Lebhaft</em></p><p><em>III. Rasch</em></p><p><em>IV. Langsam, mit melancholischen Ausdrück</em></p><p><strong>B. Bartok</strong>: Concerto for Viola and Orchester, Sz. 120, BB 128*</p><p>I. Moderato</p><p>Pianist:</p><p>*= Erik Lanninger</p><p>**= Eeva Tapanen</p><p></p>

Syftet med arbetet är att jämföra två musikstycken från skilda stilar, ett barockstycke och ett verk influerat av amerikansk folkmusik, och se ifall jag kan applicera tekniker, instuderingsmetoder och musikaliska infallsvinklar på liknande sätt i båda styckena.    De stycken jag har valt är Concerto for Jazz violin and Orchestra, 1: Blue Reel av Scott Routenberg och Partita III i E-dur, 1: Prelude, för soloviolin av Johann Sebastian Bach.   I min arbetsprocess har jag även instuderat en ”äkta” bluegrasslåt, Ragtime Annie, för att få inspiration och hjälp till instuderandet av stycket för jazzviolin. Arbetets konstnärliga del består av en inspelning av varje stycke i slutskedet av instuderingen.   Under mitt arbete har jag kommit fram till att de flesta svårigheter var av samma tekniska karaktär och att man kan använda sig av samma sorts instuderingsmetoder i båda styckena. Jag har även upptäckt att spelsätt och tekniker från den klassiska traditionen, som användes i Bachs Prelude, kunde appliceras på Blue Reel, men vissa typiska stråktekniker från Ragtime Annie inte fungerade lika bra i Bachs Prelude.   Arbetet har resulterat i insikten att en god grundteknik och ett medvetet spelsätt är grundförutsättningen för att kunna spela musik från flera musikstilar och traditioner.

This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strings. Then, primarily stated in the middle register, we hear it in a wind trio consisting of clarinet, bassoon and horn. The next section is a low rumbling effect where the low strings and bass clarinet make the statement. Lastly, before a quasi-development section, the statement is heard in highest register with the flute, oboe, clarinet, and violins. This last statement peaks and the piece begins to slightly accelerate and make use of eighth notes in a polyphonic exploration in E minor. After this is established the tonality becomes blurred and cadences are delayed. The first violin and flute seem to be behind a couple measures even though they are considered of the fastest instruments in the orchestra. Eventually the orchestra collides and unites again to build strength, but it is of no use because they seem to have hard trouble finding the original tonality. When they final reach the E minor tonality again, they are exhausted and gradually fade away to the final cadence where we hear the two thematic chords simultaneously: strings – E minor, high winds – F major.

A presente tese desenvolve a aplicação de importantes fundamentos da psicomotricidade como base para o ensino coletivo de violino. Dessa forma, apresenta e discute tais elementos conectando-os ao processo do aprendizado musical infantil. Propõe também um modelo metodológico de ensino apoiado na percepção de acontecimentos musicais simultâneos. / This thesis develops the application of important fundamentals of psychomotricity for violin class teaching. It presents and discusses these elements connecting them to the infant musical learning process. It also develops a model methodology of education based on the perception of simultaneous musical events

Symphony no. 2 : towards a harmonious world. I. Molto sostenuto. II. Con alcuna licenza. III. Con fuoco -- Sunrise : for orchestra -- Epilogue for a tragedy : for flute, violin, cello and piano. I. Molto mesto. II. Molto pesante : quasi tarantella : tranquillo -- Ally : for clarinet, violin and cello -- Cosmo palladium : for flute and Max/MSP. / Hung Ming-kin Christopher. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Symphony No.2 Towards a Harmonious World / Chapter I. --- Molto sostenuto --- p.5 / Chapter II. --- Con alcuna licenza --- p.36 / Chapter III. --- Con fuoco --- p.45 / Sunrise for orchestra --- p.84 / "Epilogue for a Tragedy for flute, violin, cello and piano" / Chapter I. --- Molto mesto --- p.101 / Chapter II. --- Molto pesante- quasi tarantella -tranquillo --- p.106 / "Ally for clarinet, violin and cello " --- p.115 / Cosmos Palladium for flute and Max/MSP --- p.125

A presente tese desenvolve a aplicação de importantes fundamentos da psicomotricidade como base para o ensino coletivo de violino. Dessa forma, apresenta e discute tais elementos conectando-os ao processo do aprendizado musical infantil. Propõe também um modelo metodológico de ensino apoiado na percepção de acontecimentos musicais simultâneos. / This thesis develops the application of important fundamentals of psychomotricity for violin class teaching. It presents and discusses these elements connecting them to the infant musical learning process. It also develops a model methodology of education based on the perception of simultaneous musical events

abstract: Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin and Orchestra, Op. 82 is frequently performed by students and professional violinists alike. The existing piano reduction of the concerto was written by the composer himself. However, the reduction has various issues that make performing this composition challenging for pianists. The main purpose of this paper is not the simplification of the existing reduction, but the creation of a new reduction that is more pianistic and approachable, yet more true to Glazunov’s dynamic and expressive orchestration. The first chapter of this project is an introduction to and comparison of currently available editions. An overview of the composer’s biography and the historical background of the composition comprise the second chapter. Chapters three, four and five are dedicated to each respective movement of the concerto, with explanations and details about certain editorial decisions. The appendix features a new piano reduction of Glazunov’s Violin Concerto in its entirety. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Violin virtuosos Henryk Wieniawski, Ole Bull, and Pablo de Sarasate each composed short virtuosic works based on their own cultural heritage. This thesis examines the exotic elements incorporated into the character pieces by the three violinists. It draws upon contemporary literature and newspaper reviews of their performances in order to demonstrate the ways in which the violinists and their music were perceived as representative of nineteenth-century exoticism. Wieniawski, whose musical training was primarily French, produced exotic Polish polonaises and mazurkas, which were perceived as evidence of Polish national character, but only in his homeland of Poland. In contrast, Ole Bull's Norwegian heritage was central to his professional persona. His compositions were influenced by Norwegian fiddling and fiddle tunes as well as the pastoral conventions of European art music. Sarasate drew on music from a wide variety of geographical and cultural regions within Spain in his Spanish dances. While his dances were extrememly popular with audiences, critical reception was often dismissive. The individual personas and international receptions of Wieniawski, Bull, and Sarasate were shaped by the musical characteristics of their homelands heard in their works.