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The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
Esports is a rapidly growing virtual competitive space that is projected to surpass physical sports in the near future. Given that Esports is considered to be in its infancy, it has only been recently introduced at the high school level. Our group connected with local high school Esports teams in order to evaluate its efficiency. We found that players at this level are lacking a connection to other competitive teams and consistent practice. In the Esports world, practice with another team of equal level is called a “scrim”. In an effort to combat this issue, we created a platform named Clear Scrims to connect high school and collegiate Esport teams across the country with other teams of equivalent level. This platform will allow individuals to sign up, register with their competitive team, and provide available times to scrim. The platform then would be able to use their self-reported ingame rank to match them with worthy opponents for the most quality scrim experience. Teams playing into the growing sector of Esports need a structure like Clear Scrims to increase skill level and communication. In addition, our platform has a review component where teams and individuals score their opponent to see if they played as advertised. This component will help specify our matchmaking program but also work to dismantle the culture of bad manners or toxicity in Esports. Our site, Clear Scrims, will engender more competition and thus more opportunities for players to practice and hone in their skills.
Esports is a rapidly growing virtual competitive space that is projected to surpass physical sports in the near future. Given that Esports is considered to be in its infancy, it has only been recently introduced at the high school level. Our group connected with local high school Esports teams in order to evaluate its efficiency. We found that players at this level are lacking a connection to other competitive teams and consistent practice. In the Esports world, practice with another team of equal level is called a “scrim”. In an effort to combat this issue, we created a platform named Clear Scrims to connect high school and collegiate Esport teams across the country with other teams of equivalent level. This platform will allow individuals to sign up, register with their competitive team, and provide available times to scrim. The platform then would be able to use their self-reported ingame rank to match them with worthy opponents for the most quality scrim experience. Teams playing into the growing sector of Esports need a structure like Clear Scrims to increase skill level and communication. In addition, our platform has a review component where teams and individuals score their opponent to see if they played as advertised. This component will help specify our matchmaking program but also work to dismantle the culture of bad manners or toxicity in Esports. Our site, Clear Scrims, will engender more competition and thus more opportunities for players to practice and hone in their skills.
Esports is a rapidly growing virtual competitive space that is projected to surpass physical sports in the near future. Given that Esports is considered to be in its infancy, it has only been recently introduced at the high school level. Our group connected with local high school Esports teams in order to evaluate its efficiency. We found that players at this level are lacking a connection to other competitive teams and consistent practice. In the Esports world, practice with another team of equal level is called a “scrim”. In an effort to combat this issue, we created a platform named Clear Scrims to connect high school and collegiate Esport teams across the country with other teams of equivalent level. This platform will allow individuals to sign up, register with their competitive team, and provide available times to scrim. The platform then would be able to use their self-reported ingame rank to match them with worthy opponents for the most quality scrim experience. Teams playing into the growing sector of Esports need a structure like Clear Scrims to increase skill level and communication. In addition, our platform has a review component where teams and individuals score their opponent to see if they played as advertised. This component will help specify our matchmaking program but also work to dismantle the culture of bad manners or toxicity in Esports. Our site, Clear Scrims, will engender more competition and thus more opportunities for players to practice and hone in their skills.
Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.