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  Access Rights: Public
  Partner: UNT Libraries
 Language: English
 Degree Discipline: Performance
 Collection: UNT Theses and Dissertations
The 1986 National Endowment for the Arts Commission: An introspective analysis of two marimba works, Reflections on the Nature of Water by Jacob Druckman and Velocities by Joseph Schwantner, together with three recitals of selected works by Keiko Abe, Christopher Deane, Peter Klatzow, Wayne Siegel, Gitta Steiner and others.

The 1986 National Endowment for the Arts Commission: An introspective analysis of two marimba works, Reflections on the Nature of Water by Jacob Druckman and Velocities by Joseph Schwantner, together with three recitals of selected works by Keiko Abe, Christopher Deane, Peter Klatzow, Wayne Siegel, Gitta Steiner and others.

Date: August 2005
Creator: Fang, I-Jen
Description: The marimba is rapidly achieving greater importance as a solo percussion instrument. Solo compositions for the marimba have been commissioned and performed only in the last sixty years. The 1986 National Endowment for the Arts Solo Marimba Commission is considered one of the most important commissioning projects in the history of marimba literature. Two compositions created through this project, Velocities by Joseph Schwantner and Reflections on the Nature of Water by Jacob Druckman have become two of the most influential works in contemporary marimba music. This thesis will focus on a historical perspective of the project, as well as theoretical aspects and performance issues related to these two compositions. The National Endowment for the Arts (NEA) issued a consortium commissioning grant through the Percussive Arts Society (PAS) in 1986 to three internationally renowned marimbists, William Moersch, Leigh Howard Stevens and Gordon Stout. Three Pulitzer Prize winners were brought together to compose three new works for the marimba. The resulting pieces were: Reflections on the Nature of Water by Jacob Druckman, Velocities by Joseph Schwantner, and Islands from Archipelago: Autumn Island by Roger Reynolds. A brief history of the classical concert marimba and the development of solo marimba literature is provided ...
Contributing Partner: UNT Libraries
Alberto Grau: The Composer, Selected Works, and Influence upon the Venezuelan and International Choral Community

Alberto Grau: The Composer, Selected Works, and Influence upon the Venezuelan and International Choral Community

Date: August 2007
Creator: Yu, Julie
Description: Alberto Grau is arguably one of the most influential contemporary Venezuelan choral composers and conductors of the twentieth and twenty-first centuries. This thesis explores the synthesis of Venezuelan nationalism with global internationalism found within his works. As a student of the nationalistic generation of composers (Vicente Emilio Sojo, Juan Bautista Plaza, and Ángel Sauce) Grau's works display the distinct characteristics found in Venezuelan music. His output also exhibits international influences, using texts associated with social and environmental events and concerns including literary and musical influences of other nations and cultures. The first section of the thesis traces the lineage of Venezuelan choral composers beginning with the colonial period and the Escuela de Chacao to the nationalistic composers from the Santa Capilla generation. The second section describes Alberto Grau's compositional style as exemplified in his work Kasar mie la gaji (The Earth is Tired). The final section of the document comprises interviews with Alberto Grau and his wife, the Venezuelan choral conductor, María Guinand. Guinand studied piano and conducting with Alberto Grau and was his assistant at the Orfeón Universitario Simón Bolívar and the Schola Cantorum de Caracas. She is the founding conductor of the Cantoría Alberto Grau and the editor ...
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Alexander Scriabin (1871-1915): Piano miniature as chronicle of his creative evolution; Complexity of interpretive approach and its implications.

Alexander Scriabin (1871-1915): Piano miniature as chronicle of his creative evolution; Complexity of interpretive approach and its implications.

Date: May 2008
Creator: Sukhina, Nataliya
Description: Scriabin's piano miniatures are ideal for the study of evolution of his style, which underwent an extreme transformation. They present heavily concentrated idioms and structural procedures within concise form, therefore making it more accessible to grasp the quintessence of the composer's thought. A plethora of studies often reviews isolated genres or periods of Scriabin's legacy, making it impossible to reveal important general tendencies and inner relationships between his pieces. While expanding the boundaries of tonality, Scriabin completed the expansion and universalization of the piano miniature genre. Starting from his middle years the 'poem' characteristics can be found in nearly every piece. The key to this process lies in Scriabin's compilation of certain symbolical musical gestures. Separation between technical means and poetic intention of Scriabin's works as well as rejection of his metaphysical thought evolution result in serious interpretive implications. Music of Scriabin provides an excellent opportunity for a performer to find a proper balance between rational and intuitive. The lack of any of these qualities will impoverish his works, making their interpretation incomplete. Following one of main Scriabin's ideas - synthesis of all arts - this study approaches his music not from the narrow analytical, but broad synthetic standpoint. The ...
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Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part

Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part

Date: May 2011
Creator: Walker, Brian Matthew
Description: Alfredo Casella's Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance.
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The American trumpet sonata in the 1950s: An analytical and sociohistorical discussion of trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill.

The American trumpet sonata in the 1950s: An analytical and sociohistorical discussion of trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill.

Date: August 2007
Creator: Dearden, Jennifer Lorien
Description: The trumpet, or some ancestral form of the trumpet, has existed nearly as long as civilization itself. Despite its long history, however, the trumpet's solo repertoire remained limited and relatively unvaried until the second half of the twentieth century. Like most music, the American trumpet sonatas from the 1950s are a reflection of the culture and history surrounding their composition. The purpose of this research is to show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill are both distinctly American and unmistakably from the 1950s. The post-war era in America is often viewed as a time of unbridled optimism stemming from economic prosperity and the nation's military and industrial supremacy. The decade of the 1950s is often viewed today as a simpler, happier time in America's history. The trumpet sonatas of this era reflect this primarily in their ebullient rhythms and brilliant, often heroic melodies. However, darker characteristics of the decade (the rise of communism, for example) also make veiled appearances in these four sonatas. After an overview of the social and musical trends of the decade, the central chapter of the work delineates formal, thematic, and tonal structures of each of the four ...
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An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut

An Analysis and Comparison of Four Rotations Pour Marimba, A Solo Marimba Suite, by Eric Sammut

Date: May 2011
Creator: Suen, Ming-Jen
Description: Four Rotations Pour Marimba (1996) by Eric Sammut has become one of the most important marimba compositions in serious concert solo marimba literature. Four Rotations Pour Marimba is a suite of four short pieces; each of them demonstrates a different musical character while incorporating similar compositional components and techniques. The goal of this thesis project is to create a stylistic analysis for providing the concert marimbist with insight into the interpretation of these four pieces and also giving composers a more in-depth understanding of Sammut's compositional method. This thesis includes a formal analysis and comparisons of compositional elements used in Four Rotations. A brief biography of Sammut and historical significance of Four Rotations Pour Marimba are also included.
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An Analysis and Performance Guide to William Lovelock's Concerto for Trumpet and Orchestra

An Analysis and Performance Guide to William Lovelock's Concerto for Trumpet and Orchestra

Date: December 2008
Creator: Place, Logan
Description: This paper investigates the usage of traditional compositional techniques on Concerto for Trumpet and Orchestra by William Lovelock. (1899-1986) Like many other twentieth-century composers for trumpet Lovelock wrote in a romantic style using traditional forms. As a composer, Lovelock is largely under-appreciated. This paper explains Lovelock's compositional techniques and provides performers with a guide to help prepare the piece for performance.
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An Analysis of Form and Tonality in Arnold Cooke's Sonata for Oboe and Piano (1957)

An Analysis of Form and Tonality in Arnold Cooke's Sonata for Oboe and Piano (1957)

Date: May 2008
Creator: Polk, Kristin Marie
Description: Arnold Cooke composed many works for oboe including two sonatas, a concerto and several pieces for chamber ensembles; however, his works are rarely performed. Through the analysis of form and tonality in his first oboe sonata, Cooke's musical style and influences become apparent. His musical style was primarily influenced by his teacher, Paul Hindemith, and can be characterized by traditional forms with the contemporary use of quartal harmonies and a variety of tertian sonorities. Cooke wrote music that is accessible for performers and audience members, and one way he achieved this accessibility is through the repetition of melodic ideas. In addition to exact melodic repetition, he also unified his works through fugue-like passages and sequences. Although he lived during a time of experimentation by many composers, Cooke maintained conservative elements in his music that he learned through his studies at Cambridge and through his studies with Hindemith. His first oboe sonata is tonal although he varied modes and used chromatic harmonies throughout. Cooke's clear writing and unique sound in his Sonata for Oboe and Piano (1957) provide oboists a solo piece for the repertoire that demonstrates a modern approach to the traditional style of composition.
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Analysis of harp performance issues in Federico's Little Songs for Children by George Crumb.

Analysis of harp performance issues in Federico's Little Songs for Children by George Crumb.

Date: May 2009
Creator: Hembreiker, Linda-Rose
Description: During the 20th century, chamber works for harp expanded to include significantly different instrumentations, like flute, voice and harp. Indeed, a body of works for flute, voice, and harp began to develop mainly through the commissioning efforts of ensembles comprised of these instruments. This study of George Crumb's Federico's Little Songs for Children for flutes, soprano, and harp considers the unique advantages and challenges of this instrumentation and offers specific suggestions for performance. Attention to various compositional elements of Federico's Little Songs for Children, especially as they relate to the text, is also helpful in preparing to perform this work. The form, pitch material, and text-painting in the work allow for special opportunities to convey meaning to audiences in ways that do not rely on traditional tonal relationships. Accompanying the shift away from traditional tonal relationships, the development of the harp repertoire in chamber and solo settings during the 20th century also led to the development of many extended- techniques for this instrument. For the most part, these techniques have been described and given various notational symbols but not discussed in detail with regard to execution. Federico's Little Songs for Children itself requires several unique extended-techniques. Recommendations are given in ...
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An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by Thelonius Monk: An Exercise in Multi-Dimensional Thematicism

An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by Thelonius Monk: An Exercise in Multi-Dimensional Thematicism

Date: August 2003
Creator: Dahlke, Andrew Richard
Description: The dissertation focuses on Joe Lovano's utilization of thematic material in relation to "Misterioso" by Thelonius Monk. Thematicism is defined more broadly in this study to include reference to the form, phrase structure, and harmony of "Misterioso". Methodological models provided by Gary Potter, Henry Martin, and Paul Hindemith serve as points of departure for this study which focuses on four areas: 1) phrasing, 2) step progression, 3) motives and formulas, and 4) harmonic implications. Thematic relationships are discovered through the analysis of the transcription of Lovano's improvisation; the four levels of the analysis work together and also independent of one another to produce a kind of thematic counterpoint. This study also examines how Lovano creates an effective solo. The study will be of benefit to students, professional musicians, pedagogues, theorists, musicologists, and jazz aficionados.
Contributing Partner: UNT Libraries
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