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 Degree Discipline: Composition
 Degree Level: Master's
 Collection: UNT Theses and Dissertations
...and one of time...: A Composition for Full Orchestra with Narration.

...and one of time...: A Composition for Full Orchestra with Narration.

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Rinker, John Thomas
Description: ‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.
Contributing Partner: UNT Libraries
Blueline Concerto: Critical Essay

Blueline Concerto: Critical Essay

Date: August 2013
Creator: Lamb, Christopher
Description: The purpose of this critical essay is two-fold. First, the essay presents a detailed critical analysis of my original composition, Blueline Concerto for bass trombone and wind ensemble. Second, using Blueline Concerto, the essay presents preliminary findings of my study to develop an approach to composing that takes into account the musicians' health, specifically regarding noise induced hearing loss (NIHL). Through various hypothesized composition- and orchestral-based approaches, I test effectiveness on changes in NIHL risk while also noting that artistic merit and compositional integrity is preserved.
Contributing Partner: UNT Libraries
Brass Band History and Idiomatic Writing in Brass Music

Brass Band History and Idiomatic Writing in Brass Music

Date: May 2013
Creator: Kahler, Elyse T.
Description: The purpose of this research was to explore historical perspective of brass music. There is a brief history of brass bands in Britain. Furthermore, the paper examines the differences between two brass band pieces in the repertoire, A Western Fanfare by Eric Ewazen and Brass Symphony by Jan Koetsier. Both of these pieces were compared and contrasted against the author's newly composed work for brass, Two Companion Pieces for Brass Ensemble. The paper covers different techniques commonly used in brass writing and points these techniques out in all three pieces.
Contributing Partner: UNT Libraries
Breaking Through: A Composition for Symphony Orchestra

Breaking Through: A Composition for Symphony Orchestra

Access: Use of this item is restricted to the UNT Community.
Date: August 2002
Creator: Dribus, John Alexander
Description: Breaking Through is a single-movement composition for symphony orchestra based on a fourteen-note melody. Every harmonic and melodic figure except the bass line is derived from this source melody. The structure of the work is based on a number of musical dichotomies that work on both local and large-scale levels. The local dichotomies contrast consonance with dissonance and ambiguity with clarity (in respect to texture and rhythm). The dichotomy of two-part form versus three-part form and the dichotomy of simplicity versus complexity operate on the large scale. The unity lended by the single source melody coupled with the contrasts furnished by the aforementioned dichotomies allow Breaking Through to be both coherent and interesting.
Contributing Partner: UNT Libraries
Chaos, Cosmos, and Communion: Three Movements for String Quartet

Chaos, Cosmos, and Communion: Three Movements for String Quartet

Date: August 1994
Creator: Moran, David W. (David Wayne)
Description: The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.
Contributing Partner: UNT Libraries
Clestrinye [El Carnaval del Perdón]: Traditional rituals in intermedia composition.

Clestrinye [El Carnaval del Perdón]: Traditional rituals in intermedia composition.

Date: August 2008
Creator: Salazar, Camilo
Description: In Part I of this thesis, I examine the use of Latin American rituals, ceremonies, and traditional folklore as conceptual and compositional material; studying and re-contextualizing concepts, cultures, and ideologies, and introducing them to foreign audiences. I explore issues such as laptop improvisation, interaction with other performance forces, and the utilization of the social elements of non-western celebrations, as explored in Clestrinye, a work for live and fixed electronics, mixed ensemble, dancers, and painters.
Contributing Partner: UNT Libraries
Clockwork Plums

Clockwork Plums

Date: May 2004
Creator: Bradford, Joshua
Description: Based on a story by Joshua Forehand with additional lyrics by Joshua Bradford, Clockwork Plums is an original musical work that integrates techniques and ideas from composers and different cultures. The accompanying essay about the work includes a summary of the story, "Clockwork Plums," some historical background covering 30 years of pop music, an analysis focusing on the use of African and Reichian compositional devices, and discussion about controlled improvisation and use of the voice as compositional tools. The music consists of three sections scored for 5 voices (lead male vocalist and SATB), flute (doubling tenor saxophone), Bb clarinet (doubling baritone saxophone), violin, cello, piano, electronic keyboard, electric guitar, electric bass, drum set, and percussion.
Contributing Partner: UNT Libraries
Contours

Contours

Date: August 1994
Creator: Hughes, Russell M., 1954-
Description: Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.
Contributing Partner: UNT Libraries
Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Date: December 2010
Creator: Lucas, Stephen
Description: Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production.
Contributing Partner: UNT Libraries
Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Date: December 2010
Creator: Lucas, Stephen
Description: Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production: http://digital.library.unt.edu/ark:/67531/metadc33228/
Contributing Partner: UNT Libraries
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