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  Partner: UNT Libraries
 Degree Discipline: Performance
 Degree Level: Doctoral
 Collection: UNT Theses and Dissertations
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 Assimilation of Baroque Elements in Ferruccio Busoni's Compositions as Exemplified by the Fantasia nach Bach and the Toccata

The Assimilation of Baroque Elements in Ferruccio Busoni's Compositions as Exemplified by the Fantasia nach Bach and the Toccata

Date: August 2009
Creator: Van Schalkwyk, Willem Andreas Stefanus
Description: Ferruccio Busoni (1866-1924) has a firmly established reputation as one of the giant pianists of his age, yet his compositions are largely neglected both in musicological circles and on the concert stage. A better understanding of his thought processes might lead to a greater appreciation of his art, and the acknowledgement of his reverence for the music of Bach is an important key to such an understanding. Busoni's Fantasia nach Bach and Toccata, although two decidedly dissimilar compositions in terms of purpose and conception, represent two manifestations of Busoni's respect for Bach, whether it be in the form of assimilating Bach's compositions into one of his own, or by creating an original work to the same mold as some of Bach's works.
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The Automatic Compensating Euphonium As the Ideal Choice for Performing Music Composed Originally for Ophicleide

The Automatic Compensating Euphonium As the Ideal Choice for Performing Music Composed Originally for Ophicleide

Date: unknown
Creator: Demy, Richard R.
Description: None
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The “Avant-pop” Style of Jacob Ter Veldhuis: Annotated Bibliography of Boombox Pieces with an Analysis of “Pimpin’” for Baritone Saxophone and Boombox

The “Avant-pop” Style of Jacob Ter Veldhuis: Annotated Bibliography of Boombox Pieces with an Analysis of “Pimpin’” for Baritone Saxophone and Boombox

Date: August 2015
Creator: Roberts, Sarah L.
Description: JacobTV has spent over thirty years utilizing his interest in American pop culture as the muse upon which he creates his works. Sources of popular culture including commercials, television evangelists, political speeches, interviews, and urban pop songs have earned him the title of the “Andy Warhol of new music.” His contributions to classical music are significant and include works for solo instruments and voice, chamber ensembles, and large ensembles. This study serves as an annotated bibliography of selected pieces written for saxophone and boombox written by JacobTV. Chapter 2 provides a brief historical background of electronic music and chapter 3 describes JacobTV’s compositional style and vocabulary. The pieces included in the bibliography of chapter 4 are Believer (2006) for baritone saxophone and soundtrack; Billie (2003) for alto saxophone and soundtrack; Buku (2006) for alto saxophone and soundtrack; Garden of Love (2002) for soprano saxophone and soundtrack; Grab It! (1999) for tenor saxophone and soundtrack; May This Bliss Never End (1996) for tenor saxophone, piano, and soundtrack; TaTaTa (1998) for tenor and baritone saxophone and soundtrack; Heartbreakers (1997-98) for saxophone quartet, soundtrack, and video; Jesus Is Coming (2003) for saxophone quartet and soundtrack; Pitch Black (1998) for saxophone quartet and soundtrack; ...
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The Avatar by Steve Rouse:  A Performance Practice Guide

The Avatar by Steve Rouse: A Performance Practice Guide

Date: August 2010
Creator: Lynn, Mark J.
Description: The Avatar for trumpet and piano by Dr. Steve Rouse is one of the most challenging compositions in the trumpet repertoire. Due to The Avatar's challenges and increasing popularity, a study is necessary to aid its performance. Each movement is performed on a different instrument: Bb piccolo (with an optional A piccolo part) for Nativity, Bb Flugelhorn for Enigma-Release and Bb trumpet for Rebirth. In addition, the performer must convey one of the work's possible programmatic meanings: (1) The Hindu belief of an Avatar and its life cycle, (2) the life of Christ or (3) the human lifecycle. Chapter 1 gives historical information about the work. Chapters 2-4 discuss each movement of The Avatar programmatically and pedagogically. Facets of each movement are analyzed including differences in programmatic choices, rehearsal techniques and sound concepts. Chapter 5 provides recording suggestions, including choosing a recording engineer, preparing and planning for a recording section, choosing a venue and the benefits of hiring a tonmeister.
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Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists

Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists

Date: May 2016
Creator: Lin, Sheng-Hsin
Description: David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles. The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).
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Bandanna, An Opera by Daron Aric Hagen with Libretto by Paul Muldoon, Commissioned by the College Band Directors National Association: The Origins of an Artwork with a Glimpse at its Musical Character Development

Bandanna, An Opera by Daron Aric Hagen with Libretto by Paul Muldoon, Commissioned by the College Band Directors National Association: The Origins of an Artwork with a Glimpse at its Musical Character Development

Date: December 2002
Creator: Powell, Edwin C.
Description: All information for this study was obtained by original source documents, interviews with the principal participants and the personal observations of the writer. A complete transcript of interviews with Daron Aric Hagen Michael Haithcockand Robert De Simone are included as appendices. In1961 the College Band Directors National Association (CBDNA) created its commissioning project for the purpose of contracting prominent composers to contribute works of high quality to the growing wind repertoire. Recently, CBDNA commissioned works that sought to collaborate with other disciplines within the artistic community. These collaborative works added new depth to the wind repertoire and helped advance the genre to new levels of prominence. CBDNA commissioned Daron Aric Hagen to write an opera using winds in the pit. He titled the work Bandanna, based on Shakespeare's Othello. Hagen contracted Paul Muldoon to write the libretto. A consortium of 79 member schools contributed to the project. A total of $100,000.00 was paid to the composer. The Director of Bands at Baylor University conducted the premiere performance of Bandanna during the 1999 CBDNA convention on 25 February 1999. Hagen assigned instrumental, thematic and harmonic attributes to each character. There are literally thousands of interactions between these elements that weave a ...
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Baroque Elements In The Piano Sonata, Opus 9 By Paul Creston

Baroque Elements In The Piano Sonata, Opus 9 By Paul Creston

Date: December 2011
Creator: Watanabe, Chie
Description: Paul Creston (1906-1985) was one of the most significant American composers from the middle of the twentieth century. Though Creston maintained elements of the nineteenth-century Romantic tradition and was categorized as a “Neo-Romantic” or “20th-century traditionalist,” many of Creston’s compositions contain elements of Baroque music. His Piano Sonata, Opus 9 provides significant examples of Baroque elements, while already foreshadowing his mature style. The purpose of this study is to explore Baroque elements in the compositional language of Paul Creston’s Piano Sonata, Opus 9. All four movements of the Piano Sonata will be examined in regards to its stylistic features associated with Baroque practices. These features mainly consist of rhythm, texture, imitative writing, and repeated phrase structure. Each category of the study will include comparisons of Domenico Scarlatti’s keyboard sonatas with Creston’s sonata. Through an examination of the Piano Sonata and its Baroque elements, this study hopes to inspire renewed interest in the work among musicians and to help the performer give a more stylistically coherent, and accurate, performance.
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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.
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The Bass Clarinetist’s Pedagogical Guide to Excerpts From the Wind Band Literature

The Bass Clarinetist’s Pedagogical Guide to Excerpts From the Wind Band Literature

Date: August 2015
Creator: Bland, Britni Cheyenne
Description: Student clarinet performers often encounter bass clarinet for the first time in a high school or university wind ensemble, so it is logical for clarinet pedagogues to encourage and assist their students in learning this wind band literature. In addition to becoming familiar with this oft performed repertoire, students will develop a set of specialized bass clarinet skills that one cannot learn on soprano clarinet. These skills include increased air capacity and support, timbre consistency in differing registers, intonation tendencies of the lower instrument, voicing flexibility, right hand thumb dexterity for keys that do not exist on soprano clarinet, technical facility for eleven pinky keys (as opposed to the seven pinky keys on a typical soprano clarinet, and effective altissimo fingerings. The purpose, then, of this document is to provide a performance guide for select bass clarinet solo excerpts from the wind band literature and to provide supplemental exercises intended to help students acquire the specialized bass clarinet skill set they will need in order to perform the selected excerpts successfully. The solos discussed in this document are excerpted from H. Owen Reed’s La Fiesta Mexicana, Florent Schmitt’s Dionysiaques, Percy Grainger’s Lincolnshire Posy, Frank Ticheli’s Blue Shades, William Bolcom’s First ...
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Béla Bartók’s Editorial Input As Seen in His Edition of Piano Sonata Hobxvi:49 in E Flat Major by Joseph Haydn

Béla Bartók’s Editorial Input As Seen in His Edition of Piano Sonata Hobxvi:49 in E Flat Major by Joseph Haydn

Date: December 2014
Creator: Cho, So Young
Description: Béla Bartók (1881-1945), one of the twentieth century’s most significant composers, is also well known as an ethnomusicologist and concert pianist. However, Bartók’s work as a pedagogue and as an editor has received relatively little scholarly attention, despite famous pupils and despite his preparation of numerous critical and educational editions of his own and others’ works. While the critical editions are few, a significant number of Bartók’s editions of piano works have an educational purpose; these editions contain highly detailed performing indications and hold substantial potential for investigating Bartók’s ideas on the performance of works by other composers. Bartók edited nineteen piano sonatas by Haydn for educational purposes between 1911 and 1920. Bartók’s edition of Haydn’s Piano Sonata Hob.XVI:49 in E-flat Major is compared with both the first edition and the facsimile of the manuscript, with a focus on articulation, pedaling, dynamics, fingering, and other significant markings such as indications of expression and ornamentations. This document examines Bartók’s editorial input in this edition as an exemplar of his stylistic principles, and explores the value of Bartók’s Haydn editions as performing editions by critically examining both his editorial contributions and possible execution issues. This study thus provides an understanding of Bartók’s ...
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Benjamin Britten's Sonata in C for Cello and Piano, Op. 65: A Practical Guide for Performance

Benjamin Britten's Sonata in C for Cello and Piano, Op. 65: A Practical Guide for Performance

Date: May 2009
Creator: Lee, Jeong-A
Description: Benjamin Britten is a renowned and prolific English composer, well known for his operas and vocal works. He did, however, also compose five works especially for the cello as a solo instrument of which the Sonata in C for Cello and Piano Op. 65 was the first. He was inspired by one of his musical contemporaries, the remarkable Soviet cellist, Mstislav Rostropovich. Rostropovich was famous for his amazing artistry which propelled him to become one of the most prominent cellists in the world during his time. Thus Britten, who had previously only composed for cello as part of ensembles, created this sonata specifically thinking of Rostropovich and his outstanding skill as a cellist. The premiere of the sonata took place in July 1961 at the Aldeburgh Festival and it was a great success. However, despite Britten's reputation as an outstanding composer and the significance of the sonata, this sonata has been performed infrequently. Britten utilized many challenging techniques and adapted them innovatively in the composition, and perhaps performers may be reluctant to choose this work due to the complexity and challenge inherent in the composition itself. The purpose of this dissertation is to provide a practical guide for students and ...
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"Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer

"Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer

Date: December 2007
Creator: Astilla, Christopher
Description: The Six épigraphes antiques represent a cross-section of Debussy's creative output that traces the composer's germ-seed from his original setting of the work in 1901 as incidental music to accompany the recitation of several poems, to the four-hand piano version of 1914, and its consequent reduction for solo piano. What can be gleaned by the methods of derivation from his original sketches to the final, mature works is an understanding of Debussy's use of musical metaphor and his connection to the poetry - the Chansons de Bilitis of Pierre Louÿs. Embedded literary procedures create a new musical expression of the work whereby text and music become integrated. Rather than serving as accompaniment to the poems, the Épigraphes function as the primary vessel for the conveyance of these ancient scenes. Several of Debussy's hallmark symmetrical and structural moulds, such as the whole-tone, chromatic, octatonic, and mirroring techniques reflect the omnipresent symmetry of Classical Greece. Various other artistic creations emanated from the Épigraphes, most significantly the orchestration of Ernest Ansermet in 1939. A look at the techniques used by Ansermet for the augmentation of the piano work serves to extrapolate the multifarious layers relevant in performance. In order to facilitate the four-hand ...
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Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra

Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra

Date: May 2008
Creator: Daussat, David M.
Description: John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for ...
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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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Breaking the Doubler Barrier: Using Sy Brandon’sDivertissement to Demonstrate a Practical Approach to Performing Multiple WoodwindWorks

Breaking the Doubler Barrier: Using Sy Brandon’sDivertissement to Demonstrate a Practical Approach to Performing Multiple WoodwindWorks

Date: December 2014
Creator: Levels, Brian Eugene
Description: Multiple woodwind training is ideal for securing certain types of employment; however, with so many different instruments, performance standards on each are difficult to maintain. Furthermore, for many multiple woodwind players, proficiency on all woodwinds ceases to be a top priority after graduation, even though they continue to market themselves as highly proficient on all of these instruments. The problem for most begins with what it means to be proficient on each instrument. The technical demands of multiple woodwind performance vary widely, but often a performance calls for complete proficiency on a variety of instruments. Multiple woodwind players who lack in professional level proficiency damage the credibility of the field and jeopardize employment opportunities for others. This study aims to address the common problems involving proficiency and to help multiple woodwind players, band directors, and doublers become familiar with and overcome these common pitfalls. Sy Brandon’s Divertissement provides an outstanding platform to address problems and provide solutions for multiple wind players, band directors, and doublers. This dissertation serves as a multiple woodwind specialist’s resource for maximum efficiency in learning and playing repertoire that involves multiple woodwinds, such as musicals, and other multiple woodwind genres.
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Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis

Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis

Date: August 2013
Creator: Jackson, Christopher Michael
Description: Benjamin Britten’s life and music have been the subject of study from early in his musical career. Current trends in psychological analysis of Britten’s music tend to focus on common themes, such as homosexuality, pacifism, the sense of the outsider, and the loss of innocence. Similarly, theoretical analyses tend either to provide general categorizations of the technical elements in Britten’s music or to apply a singular preconceived concept as a tool for understanding his compositions. These approaches have yielded significant information but leave aspects of Britten’s personality and music unilluminated. Britten’s Op. 47, Five Flower Songs, are a collection of five part songs for a cappella chorus that are often included within the canon of 20th century choral literature. This paper examines a new perspective on Britten’s music by examining the relationship between Britten’s friendships and their influence on his compositions. Through the examination of these relationships information is revealed that allows for a new method of analysis that is particularly relevant to the Five Flower Songs. The opus was dedicated to two botanists for the occasion of their 25th wedding anniversary. Contained within specific movements are extra-musical references to scientific characteristics of the flowers that are the subjects of ...
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A-Bu-GE: A Composition for Organ and Percussion

A-Bu-GE: A Composition for Organ and Percussion

Date: December 2010
Creator: Kim, Chol-Ho
Description: Keyphrases describe a document in a coherent and simple way, giving the prospective reader a way to quickly determine whether the document satisfies their information needs. The pervasion of huge amount of information on Web, with only a small amount of documents have keyphrases extracted, there is a definite need to discover automatic keyphrase extraction systems. Typically, a document written by human develops around one or more general concepts or sub-concepts. These concepts or sub-concepts should be structured and semantically related with each other, so that they can form the meaningful representation of a document. Considering the fact, the phrases or concepts in a document are related to each other, a new approach for keyphrase extraction is introduced that exploits the semantic relations in the document. For measuring the semantic relations between concepts or sub-concepts in the document, I present a comprehensive study aimed at using collaboratively constructed semantic resources like Wikipedia and its link structure. In particular, I introduce a graph-based keyphrase extraction system that exploits the semantic relations in the document and features such as term frequency. I evaluated the proposed system using novel measures and the results obtained compare favorably with previously published results on established benchmarks.
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Camille Saint-Säens'  Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective

Camille Saint-Säens' Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective

Date: December 2004
Creator: Yoo, Seung Won
Description: The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. ...
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Capriccio, By Richard Strauss and Clemens Krauss: Theoretical Discussion as Theatrical Presentation, Together with Three Recitals of Selected Works of Strauss, Wagner, Verdi, Mozart, Britten, and Prokofiev

Capriccio, By Richard Strauss and Clemens Krauss: Theoretical Discussion as Theatrical Presentation, Together with Three Recitals of Selected Works of Strauss, Wagner, Verdi, Mozart, Britten, and Prokofiev

Date: August 1986
Creator: Saunders, David Harold
Description: In Capriccio. Richard Strauss and Clemens Krauss examine the very nature of opera with the core of their thesis being the relationship of words and music. A work that is, in essence, an extended discussion poses two problems to the composer and librettist: how to sustain the argument of the thesis without losing the attention of the audience, and how to prevent a conversational opera from sounding like endless recitative. Strauss and Krauss manage to present their case without having to resort to an actual discussion for the duration of the opera. Their characters are engaging, identifiable human beings who are also allegorical figures. Their participation in the stage action sustains the argument of the thesis even when the dialogue itself addresses other subjects. The players symbolize various facets of opera, theatre, and the public with all of them, principal and secondary characters, being sharply etched. The little stage action that Capriccio does contain is carefully paced and closely coordinated with the presentation of the work's thesis. The octets, similar in dramatic function to the central finale of a Mozart opera buffa, provide the climax of the stage action and come soon after the Fugal Debate, the centerpiece of the ...
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The Career and Legacy of Hornist Joseph Eger: His Solo Career, Recordings, and Arrangements

The Career and Legacy of Hornist Joseph Eger: His Solo Career, Recordings, and Arrangements

Date: May 2008
Creator: Pritchett, Kathleen S.
Description: This study documents the career of Joseph Eger (b. 1920), who had a short but remarkable playing career in the 1940s, 1950s and early 1960s. Eger toured the United States and Britain as a soloist with his own group, even trading tours with the legendary British hornist, Dennis Brain. He recorded a brilliant solo album, transcribed or arranged several solos for horn, and premiered compositions now standard in the horn repertoire. He served as Principal Horn of the New York Philharmonic, Los Angeles Philharmonic, and the National Symphony. Despite his illustrious career as a hornist, many horn players today do not recognize his name. While Eger was a renowned horn soloist in the middle of the twentieth century, he all but disappeared as a hornist, refocused his career, and reemerged as a conductor, social activist, and author. This dissertation seeks to be the long-overdue comprehensive documentation of Eger's career as the first American horn soloist and his contributions to the world of horn playing. First, a biography of Eger is presented, focusing especially on his education and career as an orchestral player, soloist, and recording artist, including its intersections with the lives of many prominent musicians and personalities of the ...
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Carl Gottlieb Reissiger (1798-1859) Forgotten Composer for the Clarinet

Carl Gottlieb Reissiger (1798-1859) Forgotten Composer for the Clarinet

Date: May 2002
Creator: Coltman, Charles Arthur
Description: Carl Gottlieb Reissiger was a successful German composer, conductor, and teacher in the first half of the nineteenth century. At the height of his career, he was Hofkapellmeister of theater and opera in Dresden, a position he held until his death. He was a composer of more than 200 works in a multitude of different genres. Today he is mainly known as a composer of opera, a small portion of his total output as a composer. He wrote approximately eighty piano solos, eighty collections of songs or duets, nine masses, and many smaller sacred choral works, as well as 27 piano trios, seven piano quartets, and three piano quintets. In addition to these many works, he wrote five works for the clarinet: Concertino, op. 63, Duo Brillant for clarinet and piano, op. 130, Fantasie, op. 146, Second Fantasie, op. 180, and Adagio und Rondo alla polacca, op. 214. This document provides a biographical sketch of Reissiger, including his personal life, his life as a conductor, and his life as a composer. It also provides a look at the artistic life of his day: his fellow composers and the music they were writing for clarinet, outstanding clarinetists and the different instruments ...
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Carl Orff's Carmina Burana: A Comparative Study of the Original for Orchestra and Choruses with the Juan Vicente Mas Quiles Wind Band and Chorus Arrangement.

Carl Orff's Carmina Burana: A Comparative Study of the Original for Orchestra and Choruses with the Juan Vicente Mas Quiles Wind Band and Chorus Arrangement.

Date: August 2008
Creator: Simon, Philip G.
Description: The 1994 publication of a new version of Carl Orff's Carmina Burana, arranged for winds, percussion and choruses by Juan Vicente Mas Quiles, created new possibilities for the performance of Orff's monumental work. This dissertation serves as a guide to the study and performance of the Mas Quiles arrangement of Carmina Burana. Chapter One presents a brief discussion of Carl Orff and his Carmina Burana, followed in Chapter two by a short discussion of Mas Quiles' and the other significant transcriptions and arrangements of Carmina Burana, Chapter three contains a review of the literature pertinent to the study Carmina Burana. In Chapter Four a detailed examination and comparison of the original Orff score with the Mas Quiles arrangement provides a framework with which the conductor may study and compare the two scores in preparation for a performance of the Mas Quiles arrangement. The scoring of the Mas Quiles arrangement is masterful in that the arrangement so closely maintains the textural, musical and aesthetic integrity of the work. The Mas Quiles version includes all of the movements, and all of the original elements: choruses, soloists and orchestral parts are preserved intact. The only substantive change is the judicious use of winds ...
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Carl Sandburg's Timeless Prairie:  Philip Wharton's Song Cycle, The Prairie Sings

Carl Sandburg's Timeless Prairie: Philip Wharton's Song Cycle, The Prairie Sings

Date: August 2008
Creator: Wunderlich, Kristen A.
Description: The connection of music and verse evident in the work of American poet, Carl Sandburg, is a topic that has received inadequate attention. Much preexisting research has focused on Sandburg's work with The American Songbag anthology; however little has been written about music composers' settings of his verse. The relevance of Sandburg's work as a poet has faded in today's society; the rural prairie subject matter and his poetic style are deemed archaic in an ever-evolving mechanistic society. Philip Wharton, a native of Sandburg's Midwest prairie, composes to create an evocative and image-laden world for the hearers of his music. This is what creates a semblance between both artists' works. This paper makes a connection between the work of the 20th century prairie poet and a current, 21st century American composer's musical setting of Sandburg's verse. Both artists are connected not only geographically, but also in their approach to an accessible art form for their audience. Negating current compositional trends and using text from Sandburg's poetry collections, Chicago Poems and Cornhuskers, Wharton melds the text into his evocative, imagistic musical language in his song cycle, The Prairie Sings. Using examples from the five movements of the cycle, I show the ...
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