OLEG NEGRUŢA’S ELEGY FOR TROMBONE AND CHAMBER ORCHESTRA IN THE VISION OF THE PERFORMERS ANDREI TSUKANOV AND VLADIMIR ŞANDOV: A COMPARATIVE ANALYSIS by IUNCU, ALEXANDRU, ANDRIEȘ, VLADIMIR

“…This article presents the musicological and interpretive analysis of Oleg Negruţa’s Elegy for trombone and chamber orchestra. The deeply melancholy piece is a tribute to the memory of the composer’s father – Petru Negruţa, who was a trombonist in the Odessa Opera House Orchestra. …”
Get full text

Specificity and the contents of vocational training of the future teacher of music in an orchestral class by T.M. Plyachenko

“…The specific character and the content of the educational activities of the Art Department students of the Pedagogical I University in the chamber orchestra are covered in it. …”
Get full text

Toru Takemitsu : a response to his compositional world through theory and practice by Lim, Mona Lay Im.

“…Two of Takemitsu's works have been selected here for a more detailed study; the first is Piano Distance (1961), a relatively early piano work, and the second work is November Steps (1967), a work for solo shakuhachi, biwa and chamber orchestra.…”
Get full text

CONTEMPORARY AND TRADITIONAL PATTERNS IN BRUNO MADERNA’S VOCAL WORKS by Ioana BADIU-AVRAM

“…Maderna's opera covers a wide range of sonorities and combinations of vocal and instrumental groups: piano and voice, chamber orchestra and voice, double orchestra with soloists and chorus, orchestra and piano, orchestra and solo wind instruments, orchestra groups and percussion, violin concerts, orchestra and electronic music, pure orchestral pieces, music for radio, film and ballet. …”
Get full text

Building bridges: translating refugee narratives for public audiences with arts-based media by Campion, R, Dieckmann, SS

“…Between January 2020 and July 2021, participants and facilitators co-produced a multimedia chamber orchestra work about students’ experiences in countries of origin, transit, and destination to present to members of the Oxford community. …”

Linda Hutcheon’s Theory of Parody and Its Application to Postmodern Music by Violetta Kostka

“…Among them are the second study from Two Studies for piano (1986) and Through the Looking Glass…I for chamber orchestra (1987). Both these pieces are two-level and algorithmic music. …”
Get full text

Discursos y prácticas en torno a la construcción de una “escuela cubana de composición”: José Ardévol, el Grupo de Renovación Musical y la Orquesta de Cámara de La Habana (1934-194... by Belén Vega Pichaco

“…In the second one, regarding musical practices, it is analysed the activity of the Havana Chamber Orchestra, founded in 1934 by Ardévol as a platform for the Group’s and his own work; a study that has been undertaken on the basis of the unpublished documents kept at the CIDMUC (Havana). …”
Get full text

About TreeTorika: Rhetoric, CAAC and Mao by Lindborg, PerMagnus

“…This chapter examines computer assisted analysis and composition (CAAC) techniques in relation to the composition of my piece TreeTorika for chamber orchestra. I describe methods for analysing the musical features of a recording of a speech by Mao Zedong, in order to extract compositional material such as global form, melody, harmony and rhythm, and for developing rhythmic material. …”
Get full text
Get full text
Get full text

The later music of Elliott Carter by Harvey, D

“…Precedents and justifications for this method are sought in contemporary accounts of structure in general, and parallels and distinctions are drawn between the hierarchic structures of tonal music, atonal music, and language, This context-sensitive analytical approach is then applied to three of Carter's most characteristic works: the String Quartet no.2 (1959); the Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961); and the Concerto for Orchestra (1969).…”