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  Access Rights: Public
 Decade: 2010-2019
 Degree Discipline: Composition
 Collection: UNT Theses and Dissertations
Aesthetic and Technical Analysis on Soar!

Aesthetic and Technical Analysis on Soar!

Date: August 2010
Creator: Wang, Hsiao-Lan
Description: Soar! is a musical composition written for wind ensemble and computer music. The total duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as the most prominent influence on the imagery and local structure of the composition. The cyclical nature of the birds' journey inspires palindromic designs in the temporal domain. Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the sounds. This effect is achieved by giving individual parts high degree of independence, especially in regards to rhythm. Technically, Soar! explores various interactions among instrumental lines in a wind ensemble, constructs overarching symmetrical structures, and integrates a large ensemble with computer music. The conductor acts as the leader at several improvisational moments in Soar! The use of conductor-initiated musical events in the piece can be traced back through the historic lineage of aleatoric compositions since the middle of the twentieth century. [Score is on p. 54-92.]
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An Analysis of Du cristal…à la fumée by Kaija Saariaho and Axiom Unearthed, Original Composition

An Analysis of Du cristal…à la fumée by Kaija Saariaho and Axiom Unearthed, Original Composition

Date: May 2015
Creator: Allen, John Clay
Description: Beginning in the 1970s, and aided by the advancement and an increased prevalence of computers, spectral music emerged as an important development in twentieth century music. Spectral composers, as exemplified by Gérard Grisey and Tristan Murail, took the harmonic spectra of sounds as the fundamental materials of composition. The resulting music placed an emphasis on texture and gradually evolving forms. The generation of composers immediately following the spectralists assimilated their techniques into distinct and varying styles. Finnish composer Kaija Saariaho uses spectral techniques to create an aesthetic that generates form and progression from a sound/noise axis. In her piece Du cristal…à la fumée, a number of pendulum and half-pendulum gestures build up texture and form. The accompanying original composition Axiom Unearthed employs similar pendulum gestures and uses spectral techniques to generate melody and harmony in an aesthetic divergent from traditional spectral pieces.
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“Before I Die…”: Original Composition with a Critical Essay Exploring the Techniques of Six Crossover Composers

“Before I Die…”: Original Composition with a Critical Essay Exploring the Techniques of Six Crossover Composers

Date: August 2014
Creator: Trusko, Robert
Description: Candy Chang developed a public art installation where people are given the opportunity to write their answers to "Before I Die I want to ________." in a public space. I created one of these walls in Denton, TX and set it to music in a 12 minutes and 42 second piece titled Before I Die..., which combines elements of South Indian carnatic music, gospel, R&B, jazz fusion, and minimalism. The composition was influenced by the music of several crossover artists Becca Stevens, Michael League (Snarky Puppy), Nico Muhly, Poovalur Sriji, Tigran Hamasyan, and James Blake. Crossover music, fusion, and third-stream are all synonymous terms used to describe music where multiple genres or styles are authentically combined. The purpose of this thesis is to examine the balance of musical elements in crossover works as well as how specific works composed by the artists mentioned have influenced the creation of the Before I Die... piece.
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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.
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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.
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Characterizing Noise and Harmonicity: The Structural Function of Contrasting Sonic Components in Electronic Composition

Characterizing Noise and Harmonicity: The Structural Function of Contrasting Sonic Components in Electronic Composition

Date: May 2010
Creator: Dribus, John Alexander
Description: This dissertation examines the role of noise in shaping the form of several recent musical compositions. This study demonstrates how the contrast of noisy sounds and harmonic sounds can impact the structure of compositions. Depending on context, however, the specific use and function of noise can vary substantially from one work to the next. The first portion of this paper describes methods for quantifying noise content using FFT analysis procedures. A number of tests on instrumental and synthetic sound sources are described in order to demonstrate how the analysis system may react to certain sounds. The second part of this document consists of several analyses of whole musical works. Works for acoustic instruments are examined first, followed by works for electronic media. During these analyses, it becomes clear that while the use of noise in each work is based largely upon context, some common patterns do exist across different works. The final portion of the paper examines an original work which was written with the function of noise specifically in mind. The original work is put through the same analysis procedures as works seen earlier in the paper, and some conclusions are drawn regarding both the possibilities and limitations of ...
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Compositional approaches within new media paradigms.

Compositional approaches within new media paradigms.

Date: 2016-5
Creator: Oliveiro, Mark A
Description: "Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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The Creative Process in Cross-Influential Composition

The Creative Process in Cross-Influential Composition

Date: May 2010
Creator: Anderson, Jonathan Douglas
Description: This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.
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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.
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"Deborah": The Creation of a Chamber Oratorio in One Act

"Deborah": The Creation of a Chamber Oratorio in One Act

Date: 2016-5
Creator: Mixter, Mary
Description: In comparing oratorio traits across history, three aspects of oratorio were found to be particularly applicable to the creation of "Deborah: A Chamber Oratorio in One Act." These aspects were: the selection of topic and the creation or adaptation of text; the differences between recitative and aria, in form and function; and the level of stylistic diversity within a given work.
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