Table of Contents

Sinfonia (1984)

Richard E. Cornell, Director ad interim, School of Music, Boston University

Nonet

Jeffrey Harrington, Independent

Japanese Songs

Marco Alunno, Universidad EAFIT

Concerto for Piano and Ensemble (On a Theme by Thomas Campion)

Marco Alunno, Universidad EAFIT


COMPOSITIONS FOR CHAMBER ORCHESTRA eJOURNAL

"Sinfonia (1984)" Free Download

RICHARD E. CORNELL, Director ad interim, School of Music, Boston University
Email:

Sinfonia is a musical composition for classical orchestra commissioned by and composed for the Pro Arte Orchestra of Boston. Pro Arte first performed the work in October 1984 conducted by David Hoose. Duration is approximately 11 minutes. Instrumentation is pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, timpani and percussion, and strings. Performance material is available from the composer.

"Nonet" Free Download

JEFFREY HARRINGTON, Independent
Email:

A composition for chamber orchestra consisting of woodwind quintet and string quartet.

"Japanese Songs" Free Download

MARCO ALUNNO, Universidad EAFIT
Email:

The piece is based on an ancient Japanese Tanka, a poetic form constituted of five lines: 5 7 5 7 7 syllables. The syllabic structure of Japanese language allowed me to shuffle the syllables in order to obtain a new non-sense text. Indeed, I was not interested in the meaning of the text but in the sound of the language.

The procedure (the algorhythm) adopted to recreate a new text is applied to the music as well. In addition, by using some numbers (i.e. 31 – number of syllables; 17 – number of words composed by 1, 2, 3, 4 and 5 syllables; 3 – number of tonic levels of Japanese) I produced a music that structurally reflects the inner features of the text. The pitch content is derived from the seven diatonic transpositions of two ancient eptatonic Japanese scales. Therefore, the musical system used in the pieces is bi-modal and vaguely tonal but with a different distribution of tones and semitones in the scales with respect to the Western tonal system.

Everything in both songs is based on a minimal material (pitch and rhythm) which recurs more and more in the vocal and instrumental parts. From this point of view each song is a kind of variation on the same material.

"Concerto for Piano and Ensemble (On a Theme by Thomas Campion)" Free Download

MARCO ALUNNO, Universidad EAFIT
Email:

The concerto is divided into three movements. Each one is based on a portion of a melody by Thomas Campion. In the first movement, the first phrase of that melody is exposed by the piano solo right after an introduction. The rest of the movement is a short series of variations on that melody.

The second movement, named Ricercare because of its improvisatory and timber exploratory character, presents the second phrase of the melody at very end in the Piccolo part.

In the third movement the third phrase of the melody is spread off and is used as structural and temporal pivot: each quarter of the melody usually corresponds to 7 seconds and every episode is built to fit in this temporal and “harmonic? organization. Other integral and fragmented occurrences of the melody appear here and there in diminished values.

^top

About this eJournal

Composers are invited to share compositions written for chamber orchestra. Chamber orchestra, for the purpose of this eJournal, is defined as a maximum of single woodwinds (no more than 4 players), single brass including tuba (no more than four players), harp, timpani, percussion, keyboard, and strings. Instrumental or vocal soloists, as well as electronic sound may also be included. This eJournal provides an opportunity for composers to post to a single site where other compositions for similar configuration are also available. Compositions should be submitted in PDF. If a recording of the composition is available, please provide a URL on the first page of the PDF that links to the location. The copyright of the composition rests with the composer, and SSRN will not monitor usage or performance of the work. Prospective performers are encouraged to contact the composer directly.

Submissions

To submit your research to SSRN, sign in to the SSRN User HeadQuarters, click the My Papers link on left menu and then the Start New Submission button at top of page.

Distribution Services

If your organization is interested in increasing readership for its research by starting a Research Paper Series, or sponsoring a Subject Matter eJournal, please email: RPS@SSRN.com

Distributed by

­Humanities Network (HUM), a division of Social Science Electronic Publishing (SSEP) and Social Science Research Network (SSRN)

Directors

MRCN SUBJECT MATTER EJOURNALS

ANDRE DE QUADROS
Boston University - School of Music
Email: adq@bu.edu

Please contact us at the above addresses with your comments, questions or suggestions for MRCN-Sub.

Advisory Board

Compositions for Chamber Orchestra eJournal

JANET R. BARRETT
Professor of Music Education, University of Illinois at Urbana-Champaign

MICHAEL BECKERMAN
Carroll and Milton Petrie Professor of Music, New York University (NYU) - Department of Music

PHILIP BRUNELLE
Artistic Director and Founder, VocalEssence, Vice President, International Federation for Choral Music (IFCM)

VICTOR COELHO
Professor of Music, Musicology and Ethnomusicology, Boston University

SUSAN WHARTON CONKLING
Professor of Music, Chair, Department of Music Education, Boston University - School of Music

STEVEN CORNELIUS
Lecturer, University of Massachusetts Boston; Visiting Scholar, Phillips Academy

BETTY ANNE YOUNKER
Professor of Music, Music Education, Dean, Don Wright Faculty of Music - University of Western Ontario