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 Degree Discipline: Performance
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The Tone Clock: Peter Schat's System and an Application to His  Etudes for Piano and Orchestra, Opus 39

The Tone Clock: Peter Schat's System and an Application to His Etudes for Piano and Orchestra, Opus 39

Access: Use of this item is restricted to the UNT Community.
Date: December 2002
Creator: Petrella, Diane Helfers
Description: The scope of this study includes relevant background information on Peter Schat and his compositions and process, an explanation of the Tone Clock system and a detailed analysis of one of his compositions, the Etudes for Piano and Orchestra, Opus 39. The intent is to demonstrate how the Tone Clock naturally evolved from the practices of the Second Viennese School and how it relates to both new and existing modern music. The study is divided into five chapters. Chapter 1 presents a brief introduction to Peter Schat and the Tone Clock. Chapter 2 provides a more detailed biography of Peter Schat and traces the development and evolution of his compositional techniques, ultimately culminating in the Tone Clock. Chapter 3 provides a basic explanation of the Tone Clock itself, with demonstrations of various components through musical examples and illustrations. Chapter 4 is a detailed analysis of the Etudes for Piano and Orchestra, Opus. 39. Chapter 5 summarizes the results of the study, with special attention to the impact of the Tone Clock on performance from the perspective of the performer. The analysis of the Etudes was completed by using the Tone Clock as an analytical tool, aided by the composer's original ...
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Toward a Critical Edition of Gordon Jacob's William Byrd Suite: A Comparison of Extant Editions with The Fitzwilliam Virginal Book

Toward a Critical Edition of Gordon Jacob's William Byrd Suite: A Comparison of Extant Editions with The Fitzwilliam Virginal Book

Date: August 2007
Creator: Trachsel, Andrew Jason
Description: Despite being recognized as one of the most important compositions in the twentieth¬ century wind band repertoire, the William Byrd Suite presents many obstacles for the conductor and ensemble members. Since its initial publication in 1924, the piece has contained many discrepancies of pitch, articulation, rhythm, dynamics, and phrase completion that appear in the score as well as the parts. Although the work was reissued by Boosey & Hawkes in 1960 and 1991, many of the original errors remained intact. The sheer amount of inconsistencies causes great difficulties for the musicians involved in the rehearsal process, slowing efficiency and resulting in a frustrating impediment to a quality performance. The primary purpose of this study was the creation of a critical edition of Jacob's William Byrd Suite that eliminates errors of extant editions, incorporates modern instrumentation, and considers the source material. To accomplish this, the present project looks at all sources, including the autograph manuscript, orchestral version, published editions, and errata. The editorial process examines the governing philosophy, subsequent editorial decisions and indications, and the final organization of the parts. The study concludes with the inclusion of the full score of the new critical edition.
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Tracing Messiaen in Naji Hakim's Le Tombeau d'Olivier Messiaen

Tracing Messiaen in Naji Hakim's Le Tombeau d'Olivier Messiaen

Date: December 2006
Creator: Lee, Hye-Young
Description: Olivier Messiaen and Naji Hakim are both representative composers of the twentieth century. For the performer this "modern" music is difficult to analyze because of the increased complexities of its harmonic language. Therefore the purpose of this study is to demonstrate a way to approach Naji Hakim's Le Tombeau d'Olivier Messiaen through Messiaen's own musical language. This study examines how Hakim has borrowed Messiaen's theory and used it in his own piece. Chapter I outlines the purpose and motive of this study. Chapter II briefly outlines the piece, introduces the meaning of Tombeau in music history, and presents Messiaen's modes of limited transposition, one of the main sources used in the composition of Le Tombeau d'Olivier Messiaen. Chapter III details Messiaen's influence in Hakim's piece. This influence consists of four elements: melody, mode, harmony, and extra-musical ideas. This chapter is the primary portion of the document. After examining the influence of Messiaen, a conclusion of this study is offered in Chapter IV. Four appendixes are attached to this document: an interview with Naji Hakim about Le Tombeau d'Olivier Messiaen; the modes of limited transposition in Le Tombeau d'Olivier Messiaen; a biographical sketch of Naji Hakim; and program notes from Le ...
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Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model

Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model

Date: May 2013
Creator: Lang, Matthias
Description: Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.
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A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble

A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble

Access: Use of this item is restricted to the UNT Community.
Date: May 2001
Creator: Woods, Christopher P.
Description: The transcription is an addition to the repertoire for brass ensemble and bass trombone. Consideration is given to the nineteenth-century orchestration treatises of Berlioz and Strauss as well as the twentieth-century texts of Erik Leidzén, Walter Piston, and Samuel Adler. The transcription process is shaped by the principles of these writers. The score is contained in the appendix.
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Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects in Liszt's Hungarian Rhapsodies Nos 6, 10, and 12

Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects in Liszt's Hungarian Rhapsodies Nos 6, 10, and 12

Date: August 2012
Creator: Vidovic, Silvije
Description: Liszt's Hungarian Rhapsodies are uniformly considered highly challenging in terms of technical execution. However, their artistic value is frequently questioned. This dissertation examines the compositional elements that are often overlooked in these virtuoso works, and provides a viewpoint into their interpretative characteristics. Furthermore, it pursues a claim that besides being excellent performance pieces, these works also make an intriguing contribution to Liszt scholarship, and deserve meaningful consideration in terms of their artistic quality. Following the Introduction (Chapter 1), Chapter 2 provides a brief historical perspective of the critical affirmation Liszt the composer encountered from the musical society. It also includes a short background on Liszt's Hungarian Rhapsodies, as well as the general reactions these works evoked from pianists, audiences, and scholars, during the time they were composed to the present day. As the main body of the dissertation, Chapter 3 investigates the three primary compositional concepts found in Rhapsodies Nos. 6, 10, and 12. These concepts are divided into three subchapters: Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects. Each of these subchapters provides explanatory information, as well as some of the most characteristic passages presented.
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Trios of Simon A. Sargon including horn.

Trios of Simon A. Sargon including horn.

Date: December 2007
Creator: Harcrow, Michael A.
Description: This document focuses on the formal structures and tonal language of four trios that include horn by American composer Simon A. Sargon: "Huntsman, What Quarry?" Two Poems of Edna St. Vincent Millay for Soprano, Horn, and Piano (1990); Trio for Horn, Violin, and Piano: "The Legacy" (1993); A Clear Midnight: Six Songs Set to Poems of Walt Whitman for Baritone, Horn, and Piano (1996); and Sonic Portals: Trio for Oboe, Horn, and Piano (2003). Comparisons with precedent works of like instrumentation demonstrate that Sargon's trios, though musically unique, merit a place alongside masterworks like Carl Reinecke's Trio, op. 188, for oboe, horn, and piano; Franz Schubert's Auf dem Strom for soprano, horn, and piano; and especially Johannes Brahms's Trio, op. 40, for violin, horn, and piano. Other precedent, contemporary, and related works are also mentioned. Sargon's ability to write idiomatically for the horn and other instruments is discussed, and consideration is given to some elements required to create a good performance of Sargon's chamber music. Included are a brief biography of Simon Sargon, letters from colleagues with whom he has worked closely, lists of his instrumental music and recordings of some of these pieces, and lists of other works in ...
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A Trumpeter's Guide to Samuel Barber's Capricorn Concerto

A Trumpeter's Guide to Samuel Barber's Capricorn Concerto

Date: August 2010
Creator: Crafton, Jason Allen
Description: Samuel Barber's Capricorn Concerto for flute, oboe and trumpet with strings is an important though seldom performed work. The concerto is teeming with performance choices that are indicative of both historical and contemporary influences. At present, there are limited resources available to performers regarding Capricorn. The first section of this study presents an historical and contextual examination of Capricorn both in terms of Barber's own compositional output and that of his influences and contemporaries. The second section includes a performance analysis of the work, while the third section includes an analysis of existing recordings. Implications for the performer are outlined in last section. The guide provides performers with pertinent background, analytical and performance information in order to facilitate informed, high-level performance.
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Twelve Jazz Standards and Improvisations Transcribed and Adapted for Horn

Twelve Jazz Standards and Improvisations Transcribed and Adapted for Horn

Date: May 2011
Creator: Salisbury, Linda J.
Description: The purpose of this manuscript is to provide a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, yet transcribed and adapted specifically for horn, hence, expressly designed to assist horn players in achieving greater success in jazz performance. By providing transcriptions and adaptations of significant performances from jazz history, horn players will have a resource with which they can better understand jazz performance practice. Featured artists include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums are as follows: "Autumn Leaves," Somethin' Else (1958), "Blue Train," Blue Train (1957), "How High the Moon," Ella in Berlin (1960), "Lester Leaps In," Jazz at the Philharmonic (1949), "Lover Man," The Magnificent Charlie Parker (1951), "Moritat," Saxophone Colossus (1956), "Naima," Giant Steps (1959), "On Green Dolphin Street," Kind of Blue (1959), "Polka Dots and Moonbeams," Jazz Guitar of Wes Montgomery (1960), "Satin Doll," The Trombone Master (1957), "Stella by Starlight," Stan Getz Plays (1952), "Straight, No Chaser," Genius of Modern Music 2 (1951).
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Two selected works for solo trumpet commissioned by the International Trumpet Guild: A structural and performance analysis with a history of the commission project, with three recitals of selected works by Arutunian, Haydn, Fasch, Chaynes and others

Two selected works for solo trumpet commissioned by the International Trumpet Guild: A structural and performance analysis with a history of the commission project, with three recitals of selected works by Arutunian, Haydn, Fasch, Chaynes and others

Date: August 2001
Creator: Wurtz, Gary Thomas
Description: An historical overview of the ITG commission project is presented, as well an analysis of formal organization and significant features for two of the commissioned works: Sonata for Trumpet and Piano by Norman Dello Joio and Sonata for Trumpet and Piano by Eric Ewazen. Complete histories of all works and information concerning their premieres is chronicled. The degree of difficulty of each composition is assessed through an investigation of tessitura, range, melodic contour, endurance factors, articulation, fingerings, and technical features of the accompaniment (when applicable). Analysis of tempi and dynamics, articulation and phrasing, and timbral considerations provides additional points of study. The thirteen commissioned solo works from 1978 to 1993 are: Sonata for Trumpet and Piano by Norman Dello Joio, Concerto for Trumpet and Wind Orchestra by Bernhard Heiden, Laude by Stan Friedman, Concerto for Trumpet and Strings by Raymond Premru, Chamber Music VII: Ceremonies and Chamber Music VIII by Robert Suderburg, Sonata for Trumpet and Piano by Fisher Tull, Concerto for Trumpet and Orchestra by William Schmidt, Concerto for Trumpet and Wind Ensemble by Jan Bach, Arioso for Trumpet and Woodwind Quintet by Jerzy Sapieyevsky, Invocation of Orpheus by Robert X. Rodriguez, Triptych by David Sampson, and Sonata for ...
Contributing Partner: UNT Libraries