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Type: Thesis
Title: Bringing Unheard Orchestral Works to Life: testing the digital orchestra
Author: Stanhope, David
Issue Date: 2020
School/Discipline: Elder Conservatorium of Music
Abstract: This submission for the degree of Doctor of Philosophy at the Elder Conservatorium of Music, University of Adelaide, comprises a portfolio of compositions supported by commercially-released sound recordings and an explanatory exegesis. The submission comes from a composer who is also an experienced conductor and pianist, with a background as an orchestral musician (french hornist and bass trombonist). These multiple musical identities have had a significant bearing on the approach to the submitted works. The focus of the portfolio is on the use of digital orchestras for providing convincing realizations of compositions by the author and compositions by other Australian or Australiabased composers that highlight particular aspects of orchestration and digital realization. The most important element of research is the testing of orchestral sound libraries in bringing to life forgotten or neglected orchestral music that deserves recognition. This is especially relevant at a time when concert and operatic repertoire is shrinking due to the increased costs of maintaining orchestras and opera companies. Where opera is concerned, the inclusion of the author’s most significant work, Dracula, shows how live soloists can combine with a digital orchestra to make a successful recording. The increasingly sophisticated digital sound samples that are now widely available, but often used without expertise, have the potential to offer a viable alternative to orchestral or operatic performance when none is forthcoming or practical.
Advisor: Bodman Rae, Charles
Koehne, Graham
Dissertation Note: Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2020
Keywords: Digital Orchestra
David Stanhope
George Marshall-Hall
Peter Tahourdin
David Morgan
Description: Part A: Scores: Portfolio of Compostions -- Part B: Recordings [Permanent restriction on all sound recordings] -- Part C: Exegesis
Provenance: This electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at:
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