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 Degree Discipline: Performance
 Degree Level: Doctoral
 Collection: UNT Theses and Dissertations
A Performance Guide to Jean Balissat’s Kaleidoscope for Trumpet and Percussion

A Performance Guide to Jean Balissat’s Kaleidoscope for Trumpet and Percussion

Date: August 2013
Creator: Anderson, Matthew Douglas
Description: Jean Balissat’s Kaleidoscope for trumpet and percussion is an important yet widely unknown piece within the trumpet repertoire. A comprehensive performance guide is necessary in order to overcome the musical and technical demands that this piece presents to the trumpeter. The first section of this document provides historical and contextual information about Jean Balissat, his compositional style, and relevant information regarding Kaleidoscope. The second section of this document includes a performance guide to the work. The third and final section provides the trumpet player with a pedagogical guide to performing this work. This guide includes background, contextual, and pedagogical information necessary for an informed and high-level performance.
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A Performance Guide to Luigi Nono's Post-Prae-Ludium No. 1 "Per Donau"

A Performance Guide to Luigi Nono's Post-Prae-Ludium No. 1 "Per Donau"

Date: August 2009
Creator: Tignor, Scott Edward
Description: Luigi Nono's work Post-Prae-Ludium No.1 "per Donau" represents a model for the emerging genre of electroacoustic tuba music. It is important to preserve this electroacoustic work because of its value to the tuba literature. Not only is it one of the first electroacoustic works for the tuba, but it also was composed by a man who is highly regarded in the field of music composition. Its preservation will be difficult because of the rapid advancement in technology. Within the last three decades of existence, the technology has evolved three times. An examination of the performance practice in Post-Prae-Ludium was undertaken to understand the demand on the performer required to play this work. This study will look at both non-traditional performance practices, as well as an inherent problem of how the advancement of technology can actually threaten the survival of a work dependent upon a specific version of electronic technology. Nono worked in collaboration with Giancarlo Schiaffini to compose a work for tuba and live electronics. Correspondence with Schiaffini has provided his thoughts on the collaboration of Post-Prae-Ludium with Nono and given a better understanding of how to perform the work. Technology will change, and these current adaptations of Post-Prae-Ludium may ...
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A Performance Guide to the Dramatic, Vocal, and Musical Challenges of Judith Weir’s Opera, King Harald’s Saga

A Performance Guide to the Dramatic, Vocal, and Musical Challenges of Judith Weir’s Opera, King Harald’s Saga

Date: August 2014
Creator: Park, Sang Hee
Description: Judith Weir (b. 1954) composed King Harald’s Saga: Grand Opera in Three Acts for Unaccompanied Solo Soprano Singing Eight Rôles (1979) for radio broadcast. She wrote the libretto for the opera based on Snorri Sturluson’s book, King Harald’s Saga. This opera illustrates Weir’s remarkable compositional style, including her treatment of the libretto in narrative style and her representation of multiple characters by one singer. Despite Weir’s fame as an opera composer, King Harald’s Saga is rarely performed owing to three major musical and performing challenges. These challenges are performer’s ability to delineate eight separate characters (dramatic challenges), to sing wide leaps and long melismas (vocal challenges), and to perform a cappella with wide leaps and complex rhythms (musical challenges). This dissertation presents a performance guide for the soprano addressing these three challenges and suggesting possible solutions. Such a guide will assist the soprano in preparing and performing this grand opera, which thus far has not received the due attention and appreciation of either performers or audiences.
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A Performance Guide to the Trumpet Repertoire of Jacques Castérède Focusing on Brêves Rencontres and Concertino for Trumpet and Trombone

A Performance Guide to the Trumpet Repertoire of Jacques Castérède Focusing on Brêves Rencontres and Concertino for Trumpet and Trombone

Date: May 2011
Creator: Stoupy, Etienne Denis
Description: Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.
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A Performance Guide to Tomas Svoboda's Duo Concerto for Trumpet and Organ, Op. 152

A Performance Guide to Tomas Svoboda's Duo Concerto for Trumpet and Organ, Op. 152

Date: August 2002
Creator: Murray, Robert
Description: The Duo Concerto Trumpet and Organ, Op.152 by Tomas Svoboda was written in memory of and commissioned by the friends of the late Richard Thornburg, second trumpet of the Oregon Symphony. Through the use of primary sources, Tomas Svoboda, composer and organist at the premiere, and Fred Sautter, principal trumpet of the Oregon Symphony and trumpeter at the premiere, the performance guide illuminates the piece with a discussion of five different topics. Chapter 2 of the guide reveals the circumstances of the commission and the initial compositional process. Chapter 3 discusses the performance history of the concerto, including the premiere. Chapter 4 provides analytical insights with programmatic titles accompanying the formal layout of the piece. Chapter 5 presents the piece from the standpoint of performance preparation. Chapter 6 concludes the guide with final thoughts of the composer, Tomas Svoboda. The guide provides the performer studying this piece the historical context of the concerto and highlights programmatic elements of the piece not apparent in its published form.
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Performance Issues Related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas, A Lecture Recital, Together with Three Recitals of Selected Works of Kennan, Stravinsky, Haydn, Hummel, Neruda, Stevens and others

Performance Issues Related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas, A Lecture Recital, Together with Three Recitals of Selected Works of Kennan, Stravinsky, Haydn, Hummel, Neruda, Stevens and others

Date: May 2000
Creator: Hofer, Calvin D.
Description: Performance issues related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas. Chapters one and two provide a brief biography of each composer. Chapter three is an examination of their musical style and the influence that indigenous Indian music, popular music and nationalism had on their styles. Chapter four provides an investigation of Soli by Carlos Chávez, a chamber piece written for oboe, B-flat clarinet, bassoon and B-flat trumpet. Chapter five offers an examination of Two Little Serious Pieces by Silvestre Revueltas, a wind quintet for piccolo, oboe, C trumpet, B-flat clarinet and baritone saxophone. Chapters four and five contain an analysis of these pieces with regard to melodic and harmonic material, tonality, texture, range, phrase structure and form. Performance issues, such as tempo, dynamics, articulation, rhythm and style are likewise addressed with the result being an interpretive analysis of each piece. The final chapter offers a comparative analysis of Soli and Two Little Serious Pieces relative to the topics discussed in chapters four and five.
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Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers

Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers

Date: December 2010
Creator: Yoder, Rachel M.
Description: Since the development of interactive music software in the 1980s, a new genre of works for clarinet and computer has emerged. The rapid proliferation of interactive music resulted in a great deal of experimentation, creating a lack of standardization in both the composition and performance of this repertoire. In addition, many performers are reluctant to approach these works due to unfamiliarity with the genre and its technical and musical considerations. Performance practice commonly refers to interpretation of a written score, but the technology involved in interactive music requires a broader definition of performance practice; one that also addresses computer software, coordination between the performer and computer system, and technology such as microphones and pedals. The problems and potential solutions of interactive music performance practice are explored in this paper through review of the relevant published literature, interviews with experts in the field, and examination of musical examples from works for clarinet and computer by Lippe, May, Pinkston, Rowe, and Welch. Performance practice considerations of interactive music fall into the categories of notation, technology, collaboration, interpretation, and rehearsal. From the interviews and the literature, it is clear that the performance of interactive music requires specific knowledge and skills that performers may ...
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A Performer's Analysis of Dominick Argento's Miss Havisham's Wedding Night

A Performer's Analysis of Dominick Argento's Miss Havisham's Wedding Night

Date: May 2010
Creator: Mott, Jammieca D.
Description: Dominick Argento's Miss Havisham's Wedding Night is the least explored of his artistic output. A monodrama in one act for soprano, Miss Havisham's Wedding Night contains some of Argento's most beautiful and challenging music of his compositional output. The purpose of a detailed analysis of the structure and content of Argento's Miss Havisham's Wedding Night is to facilitate the solo vocal performer's interpretation. Argento's setting of Miss Havisham's Wedding Night is unique in that he musically translates the manic psychological state of the literary character. Argento structured the one act opera in such a manner that the music would illuminate the text and the audience might connect with the unstable psychological episodes and outbursts demonstrated by Miss Havisham. To that end, each section and phrase has its own psychological motivation, which in turn demands a varied musical and dramatic interpretation. Utilizing selected scenes from Miss Havisham's Wedding Night, the researcher will analyze Argento's musical manifestation of Dickens's literary work. This research will include an investigation into the manner in which Argento uses the shape of melody and the musical phrase along with the harmonic materials to enhance the text and dramatic content. The author will explore the musical nuances Argento ...
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A Performer's Analysis of Lili Boulanger's  Clairières dans le ciel: Song Cycle for High Voice and Piano; a Lecture Recital Together with the Role of Blanche in  Dialogues of the Carmelites  by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré

A Performer's Analysis of Lili Boulanger's Clairières dans le ciel: Song Cycle for High Voice and Piano; a Lecture Recital Together with the Role of Blanche in Dialogues of the Carmelites by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré

Date: December 2001
Creator: Williamson, Deborah
Description: Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this ...
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A Performer's Analysis of Maurice Ravel's  Chansons madécasses: A Lecture Recital, Together with Three Recitals of Selected Works of B. Britten, R. Schumann, S. Barber, T. Pasatieri, F. Poulenc, G. Verdi, T. Arne, and Others

A Performer's Analysis of Maurice Ravel's Chansons madécasses: A Lecture Recital, Together with Three Recitals of Selected Works of B. Britten, R. Schumann, S. Barber, T. Pasatieri, F. Poulenc, G. Verdi, T. Arne, and Others

Date: May 2004
Creator: Ellis, Diana Lea
Description: In his song cycle, Chansons madécasses (1926), a chamber work for voice, piano, flute, and cello, Maurice Ravel combines twentieth-century musical experimentation and exoticism with the late nineteenth-century style characteristics present in the vocal elements and instrumentation. Because early twentieth-century music appears to be closely connected to modern concerns, performers may tend to dismiss the style and technique of the early twentieth century as simply "old-fashioned" rather than examine and consider those elements as resources and valuable tools for interpreting and presenting authentic performances. The focus of this research includes a discussion of the historical, social, and textual implications of the music and poetry; a formal musical analysis of the work, including comparisons of an early twentieth-century, mid-century, and late twentieth-century recordings with regard to the use of vibrato and portamento in the voice, cello, and flute; and an examination of Chansons madécasses for elements of authentic Malagasy music and poetry. The paper also suggests methodologies for performance practice which reflect the results of these analyses. The beginnings of the rejection of traditional form - harmonic, rhythmic, and melodic structures - found in the early part of the century began to free composers and performers to explore musical presentations that ...
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