A collection of musical works composed in 2001-2002

This thesis represents my work as a composer from September 2000, to April 2002. The individual works included in this collection feature a wide range of compositional techniques. While only two of these pieces use traditional key signatures (the vocal works Song of Myself and Small Steps), there...

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Main Author: Ludwig, Christopher
Format: Others
Language:English
Published: 2009
Online Access:http://hdl.handle.net/2429/12172
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spelling ndltd-UBC-oai-circle.library.ubc.ca-2429-121722018-01-05T17:36:15Z A collection of musical works composed in 2001-2002 Ludwig, Christopher This thesis represents my work as a composer from September 2000, to April 2002. The individual works included in this collection feature a wide range of compositional techniques. While only two of these pieces use traditional key signatures (the vocal works Song of Myself and Small Steps), there is the presence of diatonic melodies, as well as, traditional imitative techniques and counterpoint. Such devices can be found in the Five Movements for Saxophone Quartet, Song of Myself, A Curious Chamber Suite, and the movements Chorale and The Finger Twister from Four Contrasting Pieces for Piano. Another example of traditional compositional techniques are the canons found in The Finger Twister of Four Contrasting Pieces for Piano, and Crabby Canon found in A Curious Chamber Suite. The Sneak from Four Vignettes for Orchestra is an example of a fugue that utilizes both subject and counter-subject. Several of the compositions are less traditional. For example, the woodwind quartet Vertical With a Little Horizontal, and the movement Renaissance Moon in A Curious Chamber Suite are more improvisatory, and are constructed using primarily the white keys of the piano. Both the woodwind quartet and the movement Expressivity in A Curious Chamber Suite feature complicated rhythms in addition to their already complex harmonic texture. A more experimental example is the piano piece Where the Wild Things Are, which makes extensive use of clusters and chromatic melodic segments. Finally, the three other movements in the Four Vignettes for Orchestra (The Brat, The Guttersnipe and Ragamuffin) are approachable to the listener, and are orchestrated to make use of the wide array of textural possibilities within the orchestra. Five Movements for Flute Octet is the original source for the orchestra piece. Arts, Faculty of Music, School of Graduate 2009-08-13T22:55:22Z 2009-08-13T22:55:22Z 2002 2002-05 Text Thesis/Dissertation http://hdl.handle.net/2429/12172 eng For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. 6868298 bytes application/pdf
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description This thesis represents my work as a composer from September 2000, to April 2002. The individual works included in this collection feature a wide range of compositional techniques. While only two of these pieces use traditional key signatures (the vocal works Song of Myself and Small Steps), there is the presence of diatonic melodies, as well as, traditional imitative techniques and counterpoint. Such devices can be found in the Five Movements for Saxophone Quartet, Song of Myself, A Curious Chamber Suite, and the movements Chorale and The Finger Twister from Four Contrasting Pieces for Piano. Another example of traditional compositional techniques are the canons found in The Finger Twister of Four Contrasting Pieces for Piano, and Crabby Canon found in A Curious Chamber Suite. The Sneak from Four Vignettes for Orchestra is an example of a fugue that utilizes both subject and counter-subject. Several of the compositions are less traditional. For example, the woodwind quartet Vertical With a Little Horizontal, and the movement Renaissance Moon in A Curious Chamber Suite are more improvisatory, and are constructed using primarily the white keys of the piano. Both the woodwind quartet and the movement Expressivity in A Curious Chamber Suite feature complicated rhythms in addition to their already complex harmonic texture. A more experimental example is the piano piece Where the Wild Things Are, which makes extensive use of clusters and chromatic melodic segments. Finally, the three other movements in the Four Vignettes for Orchestra (The Brat, The Guttersnipe and Ragamuffin) are approachable to the listener, and are orchestrated to make use of the wide array of textural possibilities within the orchestra. Five Movements for Flute Octet is the original source for the orchestra piece. === Arts, Faculty of === Music, School of === Graduate
author Ludwig, Christopher
spellingShingle Ludwig, Christopher
A collection of musical works composed in 2001-2002
author_facet Ludwig, Christopher
author_sort Ludwig, Christopher
title A collection of musical works composed in 2001-2002
title_short A collection of musical works composed in 2001-2002
title_full A collection of musical works composed in 2001-2002
title_fullStr A collection of musical works composed in 2001-2002
title_full_unstemmed A collection of musical works composed in 2001-2002
title_sort collection of musical works composed in 2001-2002
publishDate 2009
url http://hdl.handle.net/2429/12172
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