Browsing by Subject "Orchestral music"
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Item A study of selected twentieth-century student works for piano and orchestra, with application through an original composition: three essays for piano and orchestra(Texas Tech University, 2003-08) Rubrecht, Karl EThe concept of intentionally writing student level works for piano and orchestra has been a phenomenon of the twentieth century. There are some effective works available, however closer examination reveals that the majority of these works are written for younger students. There is a dearth of works that would be appealing for older piano students to learn and perform. This dissertation is a study of some of the more available and widely used student works. Pianistic and compositional techniques were observed in the published works, with conclusions drawn as to their effectiveness and frequency. After analyzing and examining those works, a composition was written, emulating some, but not all of the features of the other works under consideration. Essays uses more sophisticated harmonic language and an overall serious mood, which is designed to appeal to the older student, while producing a work within the technical parameters of the intermediate to moderately difficult student concertos.Item Doctoral thesis recital (conducting)(2010-03-09) Schulz, Wesley; Not availableHary Janos suite / Zoltan Kodaly -- Le sacre du printemps / Igor StravinskyItem Doctoral thesis recital (conducting)(2011-12-02) Sanders, Stefan; Not availableSymphony no. 100 in G "Military" / Franz Joseph Haydn -- Appalachian spring / Aaron Copland -- The firebird, 1919 suite / Igor Stravinsky.Item Doctoral thesis recital (conducting)(2016-04-26) Welsch, James O.; not availableOn the cliffs of Cornwall / Dame Ethel Smyth -- The little prince suite / Nicolas Scherzinger -- Matinees musicales / Benjamin Britten.Item Doctoral thesis recital (conducting)(2010-04-28) Schulz, Wesley; Not availableLecture: Igor Stravinsky's stylistic shift: A comparative analysis of the 1911 and 1947 versions of Petrushka -- Petrushka (1947) / Igor StravinskyItem Doctoral thesis recital (conductng) lecture(2016-04-29) Welsch, James O.; not availableLecture: "On the cliffs of Cornwall: A look at the composition-revision process in Ethel Smyth's opera, The wreckers." -- Act II prelude: On the cliffs of Cornwall (1905 version) / Dame Ethel Smyth.Item Doctoral thesis recital (lecture recital)(2011-11-16) Koch, Nathan; Not availableThe compact orchestra: Using piano transcriptions in 2nd bassoon audition preparation -- Violin Concerto in D major; Symphony no. 3 in F major, op. 90 / Johannes Brahms -- Overture to Tannhauser / Richard Wagner -- Overture to I vespri siciliani / Giuseppi Verdi -- Symphony no. 6 in B minor, op. 74 / Pyotr Tchaikovsky -- Symphony fantastique / Hector Berlioz.Item Doctoral thesis recital (lecture) conducting(2013-04-23) Sanders, Stefan; Unable to Determine"Variations on cells and pitch collections in the magical realms of Stravinsky's Firebird" -- Firebird suite (1919) / Igor Stravinsky.Item Master's thesis recital (conducting)(2010-03-27) Sanders, Stefan; Not availableSelections from Romeo and Juliet / Sergei Prokofiev -- Overture, La forza del destino / Giuseppe Verdi -- Il signor Bruschino overture / Gioacchino RossiniItem Samsara for orchestra(2009-05) Liang, Liang, D.M.A.; Pinkston, RussellSamsara is a six movement orchestra work. The composition attempts to explore the meaning of life through Buddhist cosmology, the reincarnations within the six realms, Preta, Animal, Human, Hell, Asura and Heaven. The purpose of the composition is to investigate the possibility of communication between multiple cultures, arts and philosophies, ancient cosmologies and modern techniques. The composition uses a variety of extended techniques on orchestral instruments, such as string clusters, harmonic glissandos, col legno, sul ponticello, Bartók pizzicatos, heavy pressure and circular bowing; woodwind breath sounds and wide vibrato; prepared piano and inside piano techniques etc. The compositional techniques used in the work contain aleatoric elements, minimalism, micro-polyphonies, and non-western traditional or folk elements. The pitch choices in the composition include microtones, newly defined chromatic scales and the modes from Indian traditional music.Item Serrated edge : toccata for orchestra(2006) Dickinson, Andrew Philip; Grantham, Donald, 1947-Serrated Edge is constructed in one continuous movement of approximately twelve and a half minutes in length. The workʼs direct, aggressive, almost mechanistic character was stimulated by the authorʼs interest in the sound and intensity of several notable musical works of the 1920ʼs and 1930ʼs, in particular those that espoused a constructivist ideal. For the author, two works - Alexander Mosolovʼs Zavod and Carlos Chavezʼ H.P. (which combined constructivism with a more populist appeal) epitomize the creative background of Serrated Edge. However, unlike those two works, Serrated Edge does not contain programmatic elements. Rather, it employs a rhetorical structure, using motivic gesture and development to generate musical narrative. The musical motives used are compact and relatively simple, with distinctive melodic and rhythmic shapes. These motives are manipulated economically: through changes in orchestration, extension by repetition, transposition, and inversion, and through fragmentation and combination with other motives. While no rigorous (i.e. serial) predetermination of pitch is involved, the compositional process was influenced significantly by some of the basic ideals of that process - namely, the economy and overall uniformity of material. It was the authorʼs intent that these basic ideals provide a structural cohesion to the work, as well as reflect the workʼs creative influences.