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  Partner: UNT Libraries
 Department: College of Music
 Decade: 1990-1999
 Degree Level: Doctoral
 Collection: UNT Theses and Dissertations
Addition, Omission and Revision: the Stylistic Changes Made to Zehn Variationen über ein Präludium von Chopin by Ferruccio Busoni

Addition, Omission and Revision: the Stylistic Changes Made to Zehn Variationen über ein Präludium von Chopin by Ferruccio Busoni

Date: December 1994
Creator: Yoon, Soomee
Description: This study examines what Busoni meant by "formal deficiencies" when he described his 1884 version of Chopin Variations, and reveals that changes made to the 1884 version during its process of revision in 1922 correct the "formal deficiencies" and show a fundamental change in Busoni's compositional style and perception of musical motion. Including a detailed analysis of the modifications, omissions, and additions made to the 1922 version (including an examination of the Chopin Prelude in C minor, op. 28, No. 20 as a theme to reveal aspects of its construction used in the variation process), which shows how these changes affect the work's compositional structure.
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An Application of Grundgestalt Theory in the Late Chromatic Music of Chopin: a Study of his Last Three Polonaises

An Application of Grundgestalt Theory in the Late Chromatic Music of Chopin: a Study of his Last Three Polonaises

Date: December 1994
Creator: Spicer, Mark Joseph
Description: The late chromatic music of Chopin is often difficult to analyze, particularly with a system of Roman numerals. The study examines Schoenberg's Grundgestalt concept as a strategy for explaining Chopin's chromatic musical style. Two short Chopin works, Nocturne in E-flat major. Op. 9, No. 2, and Etude in E major, Op. 10, No. 3, serve as models in which the analytic method is formulated. Root analysis, in the manner of eighteenth-century theorist Simon Sechter, is utilized to facilitate harmonic analysis of chromatic passages. Based upon the analytic method developed, the study analyzes the last three polonaises of Chopin: Polonaise in F-sharp minor, Op. 44, Polonaise in A-flat major, Op. 53, and Polonaise-Fantasie in A-flat major, Op. 61. The Grundgestalt-based analysis shows harmonic, melodic and rhythmic connections in order to view Chopin's chromaticism and formal structure from a new perspective. With this approach, the chromaticism is viewed as essential to the larger form.
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Art Song by Turn-of-the-Century Female Composers

Art Song by Turn-of-the-Century Female Composers

Date: December 1993
Creator: Click, Sarah, D.
Description: Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of ...
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Aspects of Performance in Three Works for Piano and Tape : Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages

Aspects of Performance in Three Works for Piano and Tape : Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages

Date: May 1993
Creator: Brandenburg, Octavia
Description: This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.
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The Baroque Guitar : Late Spanish Style as Represented by Santiago de Murcia in the Salvidar Manuscript (1732), with Three Recitals of Selected Works by Bach, Rak, Brouwer, Hummel, Gnattali and Others

The Baroque Guitar : Late Spanish Style as Represented by Santiago de Murcia in the Salvidar Manuscript (1732), with Three Recitals of Selected Works by Bach, Rak, Brouwer, Hummel, Gnattali and Others

Date: December 1993
Creator: Yates, Stanley
Description: xxii, 169 leaves : ill.
Contributing Partner: UNT Libraries
Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet

Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet

Date: December 1997
Creator: Walzel, Robert L.
Description: The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.
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Boulez's Sonatine and the Genesis of His Twelve-tone Practice

Boulez's Sonatine and the Genesis of His Twelve-tone Practice

Date: May 1998
Creator: Chang, Sangtae
Description: This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.
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Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae

Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae

Date: May 1996
Creator: Hamrick, David (David Russell)
Description: Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. The latter held that the repercussae of each mode were "principal cadences," contrary to Aron's expansive lists. Dressler's syntactical theory of cadence usage was tested by examining seventeen motets by Dressler and seventy-two motets by various early sixteenth-century composers. In approximately three-fourths of the motets in each group, cadences appeared on only two different pitches (with only infrequent exceptions) in their exordia and at text articulations. These pairs are the principal cadences of Dressler's list, and identify the mode of the motets. Observations and conclusions are offered regarding the ambiguities of individual modes, and the cadence-tone usage of individual composers.
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The Christmas Cantatas of Christoph Graupner (1683-1760)

The Christmas Cantatas of Christoph Graupner (1683-1760)

Date: August 1992
Creator: Schmidt, René R.
Description: An assessment of the contributions of Christoph Graupner's 1,418 extant church cantatas is enhanced by a study of his fifty-five surviving Christmas cantatas, written for the feasts of Christmas, St. Stephen's, St. John's, and the Sunday after Christmas. Graupner's training in Kirchberg, Reichenbach and at the Thomas School in Leipzig is recounted as well as his subsequent tenures in Hamburg and Darmstadt.
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Circumfusion: a Composition for Real-Time Computer Music Spatialization System

Circumfusion: a Composition for Real-Time Computer Music Spatialization System

Date: August 1998
Creator: Morgan, Christopher R. (Christopher Robert)
Description: Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.
Contributing Partner: UNT Libraries
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