Now showing items 1-10 of 19
The beginnings and development of a New Zealand music: The life, and work (1940-1965), of Douglas Lilburn
(University of Canterbury. Music, 1983)
In 1940, 100 years after the proclamation of British Sovereignty of New Zealand, a young composer, Douglas Lilburn, returned to his native New Zealand from advanced musical studies in London. His music, drawn from the ...
An Historical Survey of the Establishment of an Orchestral Tradition in Christchurch to 1939
(University of Canterbury. School of Music, 2009)
This dissertation is the first study devoted solely to the history of an orchestral tradition in Christchurch. Within a timeframe stretching from the beginning of the local settlement to the establishment of the first ...
Source recognition of environmental sounds in the composition of sonic art with field-recordings: A New Zealand viewpoint
(University of Canterbury. Music, 1989)
The use of recorded environmental sounds in electroacoustic music has led to the raising of fundamental questions concerning the aesthetic criteria with which such materials should be approached in composition. One of ...
The influence of folk music in Three Works by Béla Bartόk: Sonata No. 1 for violin and piano, Sonata (1926) for piano, and 'Contrasts' for violin, clarinet and piano
(University of Canterbury. Music, 1986)
It is well known that the compositions of Béla Bartόk are influenced by folk music. Until recently, however, musicologists in the West have treated this aspect of Bartόk's music superficially. By avoiding the folk music ...
Acoustic illuminations: recorded space as soundscape composition
(University of Canterbury. Music, 2014)
Following López, I claim that although any sound can be music, not all sound is music. Soundscape composition begins when a soundscape prompts the composer to engage musically with it. How this engagement manifests is ...
The pukl and Chodsko: Aspects of linkage between a bagpipe and an ethnographic region
(University of Canterbury. Music, 2012)
The pukl, commonly called dudy, is a bellow-blown bagpipe whose origin and development can be traced to older forms known as grosser Bock and polnischer Bock. The instrument is an important feature in the identity of ...
The sketches of two of Felix Mendelssohn's unpublished works
(University of Canterbury. Music, 1971)
Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)
(University of Canterbury. School of Music, 2012)
When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to ...
Enhancing choral intonation in unaccompanied tonal music: a curriculum and pedagogical approach to teach choirs to sing in just intonation
(University of Canterbury, 2017)
Poor, unreliable, inconsistent intonation is a problem for choirs and their directors. As a chorister, I observed many conductors attempting to correct issues with a range of ‘quick-fix’ solutions; what seemed to be missing ...
Interpreting the early Ottoman music repertiore on the oud and nay as recorded in the Ali Ufki and Demetrius Cantemir collections.
(University of Canterbury, 2016)
In order to inform my own performance on the Middle Eastern lute, the oud, and the flute, the nay, this study aims to discover how court music played in Constantinople4 in the sixteenth century, may have sounded. Is ...